A Dictionary for the Modern Percussionist and Drummer
DICTIONARIES FOR THE MODERN MUSICIAN Series Editor: Jo Nardolillo Contributions to Dictionaries for the Modern Musician series offer both the novice and the advanced artist lists of key terms designed to fully cover the field of study and performance for major instruments and classes of instruments, as well as the workings of musicians in areas from composing to conducting. Focusing primarily on the knowledge required by the contemporary musical student and teacher, performer, and professional, each dictionary is a must-have for any musician’s personal library! All Things Strings: An Illustrated Dictionary by Jo Nardolillo, 2014 A Dictionary for the Modern Singer by Matthew Hoch, 2014 A Dictionary for the Modern Clarinetist by Jane Ellsworth, 2014 A Dictionary for the Modern Trumpet Player by Elisa Koehler, 2015 A Dictionary for the Modern Conductor by Emily Freeman Brown, 2015 A Dictionary for the Modern Pianist by Stephen Siek, 2016 A Dictionary for the Modern Percussionist and Drummer by James A. Strain, 2017
A Dictionary for the Modern Percussionist and Drummer
James A. Strain
ROWMAN & LITTLEFIELD Lanham • Boulder • New York • London
Published by Rowman & Littlefield A wholly owned subsidiary of The Rowman & Littlefield Publishing Group, Inc. 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 www.rowman.com Unit A, Whitacre Mews, 26-34 Stannary Street, London SE11 4AB Copyright © 2017 by Rowman & Littlefield All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review. British Library Cataloguing in Publication Information Available Library of Congress Cataloging-in-Publication Data Names: Strain, James Allen, author. Title: A dictionary for the modern percussionist and drummer / James A. Strain. Description: Lanham, Maryland : Rowman & Littlefield, 2017. | Series: Dictionaries for the modern musician | Includes bibliographical references. Identifiers: LCCN 2017007659 (print) | LCCN 2017008980 (ebook) | ISBN 9780810886926 (hardcover : alk. paper) | ISBN 9780810886933 (electronic) Subjects: LCSH: Percussion instruments—Dictionaries. Classification: LCC ML102.P4 S77 2017 (print) | LCC ML102.P4 (ebook) | DDC 786.803—dc23 LC record available at https://lccn.loc.gov/2017007659 The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992. Printed in the United States of America
This book is lovingly dedicated to my wife, Carrie Ann Biolo. From the day I met her, it has been through her musical values and her unrelenting pursuit of those values that I have constantly been inspired to continue pursuing my own musical goals. In addition, this book is dedicated to my parents and stepchildren, without whose support and understanding I would not have had the time to dedicate to this project.
Contents
List of Dictionary Illustrations Acknowledgments Introduction Organization of the Dictionary, Language, and Abbreviations Pitch Chart The Dictionary Appendixes Appendix A: Philosophies and Approaches to Teaching Percussion Appendix B: A Practical Guide to University and College Percussion Auditions Appendix C: A Guide to Professional Orchestral Percussion Auditions Appendix D: Standard Audition Repertoire for Orchestral Percussion Appendix E: Standard Audition Repertoire for Timpani Appendix F: Percussion Equipment Standards by the NCPP
Appendix G: Marimba Standards and Literature by the NCPP Appendix H: J. C. Deagan Company Keyboard Percussion Instruments Appendix I: Leedy Manufacturing Company Keyboard Percussion Instruments Appendix J: Marking Percussion Parts by Randall Eyles Appendix K: List of Drum Set Styles Appendix L: Notation for Drum Set by Norman Weinberg Appendix M: Percussion Instruments Setup and Part Assignment Diagrams Appendix N: PAS 40 International Drum Rudiments Appendix O: Standard Ranges for Tuned Percussion Instruments Further Reading About the Author
Dictionary Illustrations
A.01 A.02 A.03 A.04 A.05 A.06 A.07 A.08 A.09 B.01 B.02 B.03 B.04 B.05 B.06 B.07 B.08 B.09 B.10 B.11
agogo bells Almglocken angklung (bamboo) angklung (metal) Anheier cable timpani antique cymbals attached cymbal mount attached cymbal on bass drum attached cymbal on stand bar chimes bass drum mallets bass drum pedal (Speed King) bass drum pedal (double) bell tree berimbau boobams brake drum brushes bulb horn burton grip (bottom view)
B.12 B.13 B.14 B.15 B.16 C.01 C.02 C.03 C.04 C.05 C.06 C.07 C.08 C.09 C.10 C.11 C.12 C.13 C.14 C.15 C.16 C.17 C.18 C.19 C.20 C.21 C.22 C.23 C.24 C.25 C.26 C.27 C.28 C.29 C.30 C.31 C.32 C.33 C.34
burton grip (top view) butt joint seam butt plate (gut snares) butt plate (snare cord) button gong cacophone camel bells carry hook (military) carry hook (D-ring on leather) carry hook (rod mounted) carry slinsg castanets (mounted, handle, machine) caxixi celestette China boy cymbal Chinese cymbal Chinese gong Chinese tom toms (decorated) ching-a-ring claw hooks for bass drum claw hooks for snare drum clock chimes coconuts (horse hoof imitation) counterhoop (no flange batter) counterhoop (single-flange batter) counterhoop (triple-flange batter) counterhoop (stick saver) counterhoop (die cast) counterhoop (wood with D-ring) cowbells (tuned “Jazzerup”) cross grip (bottom view) cross grip (top view) cuckoo imitation cuíca cuíca (inside view) cymbal bell cymbal bow cymbal edge cymbal bell with shoulder of stick
C.35 C.36 C.37 C.38 C.39 C.40 C.41 D.01 D.02 D.03 D.04 D.05 D.06 D.07 D.08 D.09 D.10 D.11 D.12 E.01 E.02 F.01 F.02 F.03 F.04 F.05 F.06 F.07 F.08 F.09 F.10 F.11 F.12 F.13 G.01 G.02 G.03 G.04 H.01
cymbal edge with shoulder of stick cymbal (rolled with two mallets) cymbal (early splash) cymbal stand (parts) cymbal stand (boom rod parts) cymbal stand (boom arm and tilter parts) cymbal strap knot darabukka dharma bells dinner chimes djembe double-ended mallets and sticks drag rope drum head (bongo) drum head (crimped hoop) drum head (plastic hoop) drum head (u-channel hoop) drum keys drum set of Buddy Rich ears (leather) elephant bell feathered joint (top view) feathered joint (front view) feathered reinforcement ring felt cymbal washers (top view) felt cymbal washers (side view) Feng gong flesh hoop (rounded) flesh hoop (squared) flesh hoops (wooden) Flex-a-tone flight case (snare drums) flywheel foghorn Gladstone snare drum glockenspiel glockenspiel mallets güiro (cow horn) hammers (Mahler)
H.02 H.03 H.04 H.05 H.06 H.07 H.08 H.09 H.10 J.01 K.01 K.02 L.01 L.02 L.03 L.04 L.05 L.06 L.07 L.08 L.09 L.10 M.01 M.02 M.03 M.04 M.05 M.06 M.07 M.08 M.09 M.10 M.11 M.12 M.13 M.14 M.15 M.16 M.17
head mounted by glue head mounted by lacing (djembe) head mounted by lacing (tabor) head mounted by lacing (talking drum) head mounted with pegs head mounted with tacks hi-hat clutch hi-hat stand (parts) hi-hat clutch parts jingle head kalimba King George marimba lion’s roar lithophone log drum low boy low-pitch bell bar low-pitch bells low-pitch bells in high pitch lug casing (marching snare) lug parts (tube) lujon (chromatic) MalletKAT Pro marching men machine marching snare drum marching snare drum (bottom view) marching sticks and mallets marimba (five-octave) marimba (Musser M150) marimba (level mounting system) marimba (World’s Fair model) marimba ensemble at World’s Fair marimba and xylophone bars marimba and xylophone bars (arch view) marimba bar retuned marimba cord spring marimba peg marimba resonators (internal view) marimba resonators end cap (tunable)
M.18 marimba grande M.19 marimba con tecomates M.20 marimba and vibraphone mallets M.21 marimbaphone M.22 marimbula M.23 matched grip (front view) M.24 matched grip (side view) M.25 external leather muffler for concert snare drums M.26 internal muffler with two felt pads for snares and toms (side view) M.27 internal muffler with single-felt pad for snares and toms M.28 musical rattles M.29 Musser grip (bottom view) M.30 Musser grip (top view) N.01 nightingale imitation or call, with sanitary cap O.01 octarimba O.02. one-man band P.01 pig tail knot for rope tuning P.02 Gladstone vacuum practice pad P.03 tunable practice pad by Remo Inc. P.04 24-carat, gold-plated presentation drum given to Max Manne, ca. 1916 P.05 Promark 50th Anniversary snare drum Q.01 quarter-sawn wood samples Q.02 quijada (jawbone) R.01 rain machine made by William “Billy” Dorn R.02 two common ratchets R.03 Walberg & Auge deluxe ratchet opened for full volume R.04 veneer shell with nine-ply reinforcement rings cut to a 45-degree bearing edge R.05 solid shell with three solid reinforcement rings, ca. 1920 R.06 ribbon crasher R.07 riq R.08 18th-century-style rope drum R.09 brass stud with gut snares attached R.10 brass foot R.11 brass glider (rope in place) R.12 J-hook strainer with knurled knob for tensioning the gut snares R.13 snare sticks for rope drums R.14 tacked or nail seam at the overlap of the solid shell R.15 rope (or cord) hook
R.16 R.17 R.18 R.19 S.01 S.02 S.03 S.04 S.05 S.06 S.07 S.08 S.09 S.10 S.11 S.12 S.13 S.14 S.15 S.16 S.17 S.18 S.19 S.20 S.21 S.22 S.23 S.24 S.25 S.26 S.27 S.28 S.29 S.30 S.31 S.32 S.33 S.34
rope hook with additional hole for the carry strap rope hook with rollers roller hook with rope rototom Sargosa triangle with “S” design seed pod rattle natural gourd with seed shekere, fiberglass with plastic bead shekere, and a modern afuchê cabasa made of wood and metal three-ply shell, with interior ply feathered shell with feathered plies shell (staved bongos) shell (rolled metal edge) shell wood grain directions shell with three reinforcement rings shell lapped without feathering shell void shime daiko singing bowl single-headed snare siren (Acme mouth) siren (World War I gas klaxon) sistro illustration (17th century) sistrums sizzle cymbal slapstack slide whistle slit drum from Mali snare bed (metal shell) snare bed (wood shell, exterior) snare drum (modern concert) snare stand (parts> snare sticks (tips and taper) snare sticks (tips and taper, cont.) snare sticks (with double taper) snares (gut on drum) snares (gut) snares (wire wound silk) snares (wire mounted with cord) snares (individually tuned)
S.35 S.36 S.37 S.38 S.39 S.40 S.41 S.42 S.43 S.44 S.45 S.46 S.47 S.48 S.49 S.50 S.51 S.52 S.53 S.54 S.55 T.01 T.02 T.03 T.04 T.05 T.06 T.07 T.08 T.09 T.10 T.11 T.12 T.13 T.14 T.15
snares (multiple types on drum) snares (multiple types) snowshoe pedal spring coil steel pan steel pan tuning diagram Stevens grip (bottom view) Stevens grip (top view) storage shelves for stands strainer (early Leedy) strainer (Leedy marching) strainer (Leedy Presto) strainer (Ludwig Professional, hoop mounted) strainer (Ludwig P-83 with gut) strainer (Ludwig P-83 with snare cord) strainer (with cloth strap) modern Pearl marching snare strainer modern Pearl marching snare butt plate showing the 16 individually tuned, synthetic (nylon) gut snares modern Black Swamp Mulitisonic snare strainer with five types of snares installed thumb-screw tension mechanism for rope drums IMPAKT Synthesizer Drum System tablā tabor (medieval) tack pattern used to hold the overlap of the wood, as well as identify a builder talking drum (with curved beater) two large tam tams on stands tension casing (lug), inside view tension casing (lug) parts single-tension, thumb-screw tension rods tension rods for bass and snare drums thumb-up cymbal grip timbales (copper shells on stand) Timbrack standard collar on timpani extended collar on timpani (top view) extended collar on timpani (side view)
T.16 T.17 T.18 T.19 T.20 T.21 T.22 T.23 T.24 T.25 T.26 T.27 T.28 T.29 T.30 T.31 T.32 T.33 T.34 T.35 T.36 T.37 T.38 T.39 T.40 T.41 T.42 T.43 T.44 T.45 T.46 T.47 T.48 T.49 T.50 T.51 T.52 T.53 T.54
hand-tuned timpani on wooden stands (19th century) rotary-tuned timpano manufactured by Stumpff (patent 1825) machine timpano timpani (balanced action) timpani (American drum) timpani ratchet pedal (side view) timpani (Adams Philharmonic) timpani rod and strut timpani lever, rod and springs timpani pedal, cable and moving base timpani rocker arm (split design) timpani pedal, spring adjusting screw and spider timpani (side view of balanced action) timpani (Adams Professional model) timpani grip (thumb up) timpani grip (thumb to side) timpani grip (French) timpani grip (German with hand) timpani mallets timpani mallets, cont. timpani mallet head designs timpani mallet head designs, cont. timp-bass tom mount (parts) toy piano guts traditional grip (side view) traditional grip (front view) Traps’ page from 1921 catalog by Dixie Music House Traps’ page from 1921 catalog by Dixie Music House Traps’ page from 1921 catalog by Dixie Music 204 House Traps’ page from 1921 catalog by Dixie Music 205 House Traps’ page from 1921 catalog by Dixie Music 206 House Traps’ page from 1921 catalog by Dixie Music 207 House Traps’ page from 1921 catalog by Dixie Music 208 House Traps’ page from 1921 catalog by Dixie Music 209 House Traps’ page from 1921 catalog by Dixie Music 210 House Traps’ page from 1921 catalog by Dixie Music 211 House triangle with beater (18th-century encyclopedia 212 illustration) tubaphone, two-and-one-third octave (A4–C7) 214 range
T.55 single-tension, thumb-screw tension rod for 216 wood hoops T.56 single-tension, keyed tension rod with center support post for wood hoops T.57 separate-tension, keyed tension rods (with single tension casing in middle of drum shell) T.58 separate-tension, keyed tension rods (with single, extended tension casing for extra strength) T.59 separate-tension, keyed tension rods (with two tension casings) V.01 vibraphone, three-octave (F3–F6) V.02 vibraphone (with bars laid over) V.03 vibraslap W.01 Waterphone W.02 various types of wing nuts and wing bolts X.01 xylophone X.02 xylophone (four-row) X.03 xylophone (diatonic) X.04 xylophone hammers (spoon-shaped) X.05 xylophone mallets
Acknowledgments
I could not have brought this book to fruition without the support of many individuals, who deserve my thanks. First and foremost are Bennett Graff and David Daniels, for their initial invitation and confidence that I could broach such a project, and for their guidance in the initial stages of the preparation of the content of the book within the series. My thanks also to Natalie Mandziuk, Jo Nardolillo, and the staff at Rowman & Littlefield, who so patiently and kindly guided me in the final manuscript preparations and production stages. Without the support and understanding of the above four editors, I would never have been able to focus the content and scope of this book into a meaningful creation. My sincere gratitude goes to my employer and colleagues at Northern Michigan University, who allowed me release time from my teaching duties in order to research and prepare the book’s contents. Without the dedicated time and support from Sam Bacco, who opened his instrument collection and freely shared his years of experience with me, and Rob Cook, who freely shared his extensive collection of historic catalogs, I would not have been able to assemble this project. Others who routinely fielded my questions, offered words of encouragement, and graciously allowed me permission to use their materials in
the content of this book include Russ Girsberger, Chris Deviney, Emil Richards, Randall Eyles, Garwood Whaley, Norman Weinberg, Cort McClaren and the NCPP, Steven Hemphill, Rodney Newton, Richard K. Jones, Rob Knopper, Nicholas Ormrod, Jeremy Esposito, Lance Pedigo, Glenn Paulson, Rich Thompson, William L. Cahn, Dan and Abby Savell, and MakeMusic, Inc. I was always so humbled when each of the above said yes to every request I had of them. Lastly, to Jeff Hartsough, Hillary Henry, and the staff of the Percussive Arts Society (PAS) and their Rhythm! Discovery Center, my greatest thanks for granting me permission to include a wide range of materials from the vast resources of the PAS instrument collection, their archival materials, and excerpts from numerous PAS publications, all of which truly bring this book to life. In addition, I would like to thank the following publishers and individuals for their permissions to reprint material: Cook, Rob. “Leedy Mfg. Co., Keyboard Percussion Instruments.” Unpublished manuscript. Used by permission. Eyles, Randall. “The Percussionist’s Pencil: Aid to Marking Percussion Parts.” Percussive Notes 24, no. 4. Urbana, IL: Percussive Arts Society, 1986. Copyright Meredith Music Publications. Used by permission. Marimba Performance Standards. Greensboro, NC: NCPP, 2014. Copyright National Conference on Percussion Pedagogy. Used by permission. PAS 40 International Drum Rudiments. Lawton, OK: Percussive Arts Society, 1986. Copyright Percussive Arts Society. Used by permission. Percussion Equipment and Facilities Standards. Greensboro, NC: NCPP, 2006. Copyright National Conference on Percussion Pedagogy. Used by permission. Savell, Dan, and Abby Savell. “Emil Richards Collection.” L. A. Percussion Rentals. Emil Richards Collection. https://www.lapercussionrentals.com. Accessed January–July 2016. Weinberg, Norman. Guide to Standardized Drumset Notation. Lawton, OK: Percussive Arts Society, 1998. Copyright Percussive Arts Society. Used by permission. Wheeler, Mike. “J. C. Deagan, Percussion Instruments, compiled by Hal Trommer.” Percussive Notes 31, no. 2. Lawton, OK: Percussive Arts Society, 1992. Copyright Percussive Arts Society. Used by permission.
Introduction
A Dictionary for the Modern Percussionist and Drummer is intended for the use of both percussionists and non-percussionists at all levels of experience, from the raw beginning novice to the seasoned professional. It has a substantial focus on pedagogical definitions for the nonpercussionist teacher and the younger player. However, due to the vast amount of percussion instruments and music that use percussion throughout the world, the scope of this book is necessarily limited to percussion terms related primarily to the music in orchestra, concert band, marching band, drum corps, opera, musical theater, and film scores, as well as instruments and terms commonly found in jazz and popular music styles. It also includes ethnic instruments and related terms for composed or improvised musical ensembles most often found in university or public school settings, such as steel bands, samba bands, and African drumming. The book is profusely illustrated with not only instruments but also the detailed parts of instruments and hardware and a wide variety of sticks, mallets, beaters, and accessories. A wide range of slang terms related to real-life performance situations or technical issues regarding instruments is also included so as to make the book as useful as possible for musicians working with a
percussionist or drummer who needs an efficient method of communicating musical thought. As the historian for the Percussive Arts Society (PAS), I know that most musicians want a deeper knowledge of the instruments and definitions most accurate for historically informed performances. Because of this, I have included as much information as I deemed possible, sometimes including pictures of unique instruments that were common decades or centuries ago and model and brand names of the most popular manufacturers for certain genres of music. Of the many illustrations, very few are musical examples since ample samples for almost every percussion topic are easily found in other publications and online. Suggestions for those who want to delve into specific areas of percussion will find guidance in the “Further Reading” section at the end of the book. In addition, those interested in professional performing careers, vintage instrument descriptions, and the organization of and instrument requirements needed for concert bands and orchestras will find the many appendixes an extremely valuable resource. Also included are selected biographies of an elite list of percussionists, drummers, and composers from the Percussive Arts Society’s Hall of Fame. For manufacturing companies, I have given only the briefest entries for companies that have been referenced in a specific entry. To include a detailed history of even one major drum company would be a book in and of itself. Most important, this book is written for not only symphonic and concert percussionists but also performing and teaching percussionists and drummers in all genres. My experience has been that few percussionists exist in only one musical field and by their very nature crave to expand their performing to new styles or genres, each of which requires a new vocabulary, new terms, and new instruments.
Organization of the Dictionary, Language, and Abbreviations
A Dictionary for the Modern Percussionist and Drummer is an English-language dictionary. Main entries are therefore the most commonly accepted or scientifically appropriate English word. When a choice between two words was possible, I relied on Grove Music Online for the definitive rendition of most entries. For entries in a foreign language, I have attempted to provide a definition in English as well as any necessary reference to identify the word based on its common use in percussion music. All entries appear in bold with correct capitalization, punctuation, and diacritical accents or other markings. All foreign-language entries are also italicized unless they are also accepted English-language words. Throughout, entries also appear in bold when used in a definition or caption, thereby providing an easy cross-reference. Since many definitions are translations of percussion instruments, I have also provided see cross-references in order to direct readers to either the main entry or a relevant entry that offers a more complete understanding of an instrument, a performance technique, possible choices of an instrument or technique, or an entry with an illustration. Most entries appear in their singular form unless the plural form of a word is the most common usage of that word. Hopefully readers will have a basic understanding of how plurals are structured in most languages, and I have attempted to include both forms in as many entries or definitions that were feasible, with the plural form of an entry immediately adjacent to the singular form, separated by a comma. A significant number of entries have definitions
that clearly state both the singular and plural meanings. For extended phrases found in percussion music, for example, “strike the cymbal on the bell with the shoulder of the stick,” I have tried to include the phrase most useful or commonly used. In addition, I have often broken a phrase into individual words rather than have a series of a dozen entries beginning with a word such as “strike,” “hit,” or “baguette de.” Therefore, for a phrase describing where or how to play something and with what type of mallet, readers might have to construct a phrase word by word. Entries in a foreign language are immediately followed by an abbreviation to identify the language, when known. Obvious Asian and Oceanic entries, which are logographic or translated to English phonetically, are identified with a location in the definition proper. This is due to a couple of issues. First, the entries are not actually written in the language; instead, they are transliterated into the English alphabet or Romanized in some fashion. Second, many of the languages, such as those found in India and Oceania, cannot be placed into an existing language because they have no clear origin. The following abbreviations are used to identify the originating language of an entry: (Af.) (Af.-Ewe) (Af.-Akan) (Af.-Dag.) (Arab.) (Bal.) (Br.) (CA) (Ch.) (Cz.) (Dan.) (Dut.) (Fr.) (Gae.) (Ger.) (Grk.) (Hin.) (Hun.) (It.) (Jap.) (Jav.)
African (nonspecific location) African Ewe African Akan African Dagomba Arabian Balinese Brazilian Central American, tribe unknown Chinese Czech Danish Dutch French Gaelic German Greek Hindi Hungarian Italian Japanese Javanese
(LA) (Lat.) (Pol.) (Por.) (Rus.) (SA) (Sp.) (Swe.) (Th.) (Tur.)
Latin American, tribe unknown Latin Polish Portuguese Russian South American, tribe unknown Spanish Swedish Thai Turkish
Throughout A Dictionary for the Modern Percussionist and Drummer, I have used a common style for the abbreviation of right and left when discussing stickings, or which hand plays a specific pattern in music. These abbreviations are: R r L l rr ll
Right hand full stroke Right hand tap stroke Left hand full stroke Left hand tap stroke Right hand double stroke Left hand double stroke
By using this style, readers will notice that a series of stickings can easily designate dynamic variations as well as the order that a hand strikes a note. For example, Rlrr, Lrll easily illustrates two alternating accented single paradiddles, lR, rL illustrates two alternating flams, and rrllR, llrrL illustrates two alternating five-stroke rolls, each ending in an accent.
Pitch Chart
This illustration has been reproduced with permission from Daniels’ Orchestral Music, 5th ed. (2015). The letters used for musical pitches follow the system known loosely as scientific pitch notation (or American standard pitch notation). It is often abbreviated ASA, referring to the Acoustical Society of America. This method is simple and easy to remember: just think that middle C is C4, and the complete octave below it is C3 to B3. On the piano, C8 would be the top note, and C1 would be almost the lowest note. (The next lower octave would be C0 to B0.)
THE DICTIONARY
A à 2 (Fr.). By two. For cymbals, it means to use two plates (crash cymbals). It can also mean two players on a part when not seen as à 2 on cymbals. à deux (Fr.). See à 2. a due (It.). See à 2. a filo (Sp.). At the edge. à la jante (Fr.). On the rim. à l’odinaire (Fr.). As ordinarily played. This usually follows a direction to play with special instructions, sticks, or mallets. A nach F tief (Ger.). Change A to low F. When changing pitches on timpani, these types of directions often appear for any given pitch. a peine (Fr.). Hardly. a piacere (It.). Freely performed, especially by a soloist. In operas, the music must follow the singer, so watch the conductor. a plat (Fr.). Laid flat. AABA form. Common 32-bar song form for popular music consisting of four, eight-measure phrases, where A is an eight-measure melody, and B (the bridge) is a contrasting, eight-measure melody. Also known as a 32-bar chorus, or just a chorus. ab (Ger.). Away, as in remove a mute or muffler. See Dämpfer ab. abacus. A mathematical device consisting of beads that slide along a series of rods on a frame. It is shaken as a rattle. abdämpfen (Ger.). To dampen, either with a mute or immediately after striking the instrument.
Abe, Keiko (b. Apr 18, 1937). Elected as the first female member of the Percussive Arts Society’s Hall of Fame in 1993 in the categories of composition, education, keyboard percussion, and recording artist, Keiko Abe is best known as a virtuoso marimba player. See PAS Hall of Fame. For a full biography, visit www.pas.org. Abel, Alan (b. Dec 6, 1928). Elected to the Percussive Arts Society’s Hall of Fame in 1998 in the categories of author, education, industry, and orchestral, Alan Abel is best known for his position as associate principal percussion in the Philadelphia Orchestra. See PAS Hall of Fame. For a full biography, visit www.pas.org. abnehmen (Ger.). Take off or remove. Absydian wind chimes. Wind chimes made using obsidian glass from Mt. Shasta. abweschselnd (Ger.). Alternate or take turns playing. accent studies. Exercises written for the development of accents and often used as warm-up exercises for marching drum lines. accents of duration. An agogic accent, which is created by notes having longer duration, rather than greater volume. Often both duration and a greater volume are combined for musical expression on non-pitched percussion instruments such as snare drum or cymbals, as an instrument, when struck louder, usually rings longer. accessoires (Fr.). See accessories. accessories. The smaller symphonic percussion instruments commonly found in literature. These include cymbals (crash and suspended), triangle, tambourine, castanets, woodblock, temple blocks, slapstick (or whip), cowbell, etc. acciàio (It.). Steel. acciarino (It.). See triangle. accidentals. In addition to being music notation, this term refers to the
accidental rank of bars found on all keyboard percussion instruments (bells, chimes, marimbas, vibraphones, xylophones), as opposed to the naturals. accompagnando (It.). Accompanying (follow and perform in a subordinate musical role). accompagnando il canto (It.). Accompanying the voice. accordato (It.). Tuned to. accordé (Fr.). Tuned to. achtung auf den Wechsel der betonten und unbetonten Noten. Carefully make a distinction between stressed (accented) and unstressed (unaccented) notes. acier (Fr.). Steel. This is likely a triangle beater or bell mallet designation. Acme. Whistle company founded in Birmingham, England, ca. 1860, best known for the Amce siren mouth whistle. In addition, the pea whistle or referee’s whistle (The Thunderer) and numerous other types of whistles, calls, and effects have been made over the last 150 years. Many of these are stalwarts of a percussionist’s arsenal of sound effects or traps. There is also a Canadian branch of the Acme company. Acme siren whistle. This instrument is a mouth-blown klaxon or warning siren invented in 1883 by J. Hudson as a London Police (Scotland Yard) warning whistle to replace the rattle. Its pitch rises as the speed of air flow is increased and falls when the air speed slows. Also known as Acme whistle, Acme patent siren whistle, Acme mouth siren, mouth siren, cyclone whistle, or megaphone cyclone whistle when a bell is added. acorn. The tip of a drum stick, whether shaped as an acorn or not. Acoustalon. Yamaha Corporation’s trademark name for a synthetic bar (in lieu of natural wood) for use on marimbas or xylophones. The bars are constructed of fiberglass reinforced plastic with unique Sonic Tone Holes running lengthwise in a bar. acuto (It.). Acute, sharp, high pitched, or piercing.
Adams Musical Instruments. Founded first as an instrument repair business, André Adams began operating Adams Musical Instruments in Thorn, Holland, beginning in 1970. The company sells a full line of timpani, keyboard percussion instruments, concert bass drums, temple blocks, and bell plates worldwide, and continues to repair wind and brass instruments. adjá (Bra.). Afro-Brazilian metal bell. See agogo bells. adjustable rear spur. Attachable bass drum spur that is mounted on the player’s side and is adjustable in length. Adler, Henry (Jun 28, 1915–Sep 30, 2008). Elected to the Percussive Arts Society’s Hall of Fame in 1988 in the categories of education, industry, publisher, and snare drum, Henry Adler is best known as the owner of a music store in New York City where he taught lessons and published method books and music for percussion. See PAS Hall of Fame. For a full biography, visit www.pas.org. adufe (Por.). A small, square-shaped hand drum from Portugal or Brazil. Aeolian bells. Wind chimes made using a series of small bells. Sometimes tuned using the Aeolian (minor) mode. Aeolian cristallophone. Wind chimes made of thin sheets of glass. Aeoliphon (Ger.). See wind machine. aerófono (It., Sp.). See aerophone. aerophone. An instrument whose sound is made by the movement of air, such as a bull roarer, pop gun, siren, or whistle. aeroplane, aeroplane trap. See airplane imitation and traps. aeroplane metal shell. A drum shell made from aluminum. This was a common description of the construction material during the early 20th century when aluminum was first popularized by its use in aircraft manufacturing. affolants (Grk.). Suspended sheets of heavy tin foil.
afochê (LA). See afuche. afoxê (Por.). Latin American rattle. See afuche. African clay bongos. Small, paired drums made of clay with laced skin heads. African drums. Generic term used to identify wood shell drums with laced or pegged animal skin heads. They are often found in graduated sets of five or six. African log drum. A slit drum carved from a solid tree trunk, usually having two distinct tones and played by two beating sticks. African marimba. See balafon. African shakers. See shakers. African slit drum. See slit drum. African talking drum. See talking drum. African thumb piano. See kalimba. African xylophone. See balafon. African zanza, sansa. See kalimba. Afrikanische Harfe (Ger.). See marimbula. Afrikanische Schlitztrommel (Ger.). See slit drum. Afro-Brazilian music. Brazilian musical styles based on African rhythms, instruments, and cultural influence. See appendix K, “List of Drum Set Styles.” Afro-Brazilian musical bow. See berimbau. Afro-Cuban. Cuban musical styles based on African rhythms, instruments, and cultural influence. See appendix K, “List of Drum Set Styles.” Afro-Cuban drums. Generic term used to identify congas and bongos. In
addition, timbales, claves, cowbells, güiro, and maracas have been firmly established as accompanying instruments to the two basic pairs of drums in popular Afro-Cuban styles. after beat, after-beat. A note that comes midway between a beat. See off-beat. afuche (LA). Calabash gourd rattle from Latin America and Brazil. See shekere. afuchê cabasa. Trademark name by Latin Percussion for a cylindrical shaker built of wood and metal to imitate the traditional cabasa. See shekere. afuxé (Por.). Coconut shell rattle from Brazil, similar to the cabasa. See shekere. agidavi (Por.). Afro-Brazilian drum stick. agitare (It.). To shake, agitate, or stir. agiter, agitez (Fr.). To agitate or shake. agogic accents. Notes stressed by duration, not volume. In percussion, longer values are sometimes also stressed dynamically in order to have the instrument sustain or ring longer. agogô. Afro-Brazilian anvil or bell. See agogo bells. agogo bell tree. A series of flared or conical bells, small to large, mounted on a central stick so that the bells overlap each other. Similar to a bell tree, but not constructed from semi-spherical bells. agogo bells. Two flared or conical bells of different pitches (often a tritone) joined together by a doubled-over, flexible rod. The instrument can be made of metal or wood and is struck with a single stick. It is derived from the African double bell, and used in Latin American music.
ahead of the beat. A performance practice whereby a drummer places a note or notes slightly before the exact timing of the beat, thereby creating a sense of moving forward or rushing the tempo, but still maintaining a steady time or tempo. aiapa (Por.). Brazilian shaker. aidjé (Bra.). See bull roarer. aigu (Fr.). High. aiguille à tricoter (Fr.). Knitting needle. air brake. Sound effect imitation of a braking train engine. Also called steam exhaust whistle. See traps. air drumming. To perform the motion of drumming without striking any actual instrument, either with or without sticks or mallets in one’s hand. Air drumming can remain silent or be aligned with live or recorded sounds. air torpedo. Instrument that imitates the sound of a gunshot by using tongs to produce a short burst of air through a thin piece of newspaper, thereby popping the paper.
airplane imitation. A mechanical device that creates an imitation or sound effect of an airplane engine. See traps. air-raid siren. A siren or klaxon that changes pitch when spun faster or slower. Appears in Ionisation by Varèse. Ais (Ger.). A#. Ajaha. Brand of cymbals distributed by Gretsch beginning ca. 1912. Advertised as the only Turkish cymbals made in the United States, it is possible they were made in Italy. The trademark name continued into the 1970s. al centro (It.). At the center (of the head). al cérchio (It.). At the hoop (circle). Play on the counterhoop or rim. al màrgine (It.). At the edge (of the head). alarm bell. A heavy cast bell first used on ships, and then on fire and emergency vehicles. It is struck by an internal clapper operated by an attached rope or braided cord. It was used to mark the time of day while at sea. alarm clock imitation. An instrument designed to emulate either a springwound or an electric alarm clock. àlbero di sonàgli (It.). See bell tree. Alexander Technique. Named for Frederick Matthias Alexander, this system examines the natural alignment of skeletal and muscular constructs of the human body. For a percussionist, its purpose is to provide a natural, relaxed manner and motion using correct posture when sitting or moving in order to prevent injury and achieve optimal musical performance. Alexis, Clifford (b. Jan 15, 1937). Elected to the Percussive Arts Society’s Hall of Fame in 2013 in the categories of band leader, composition, education, ethnic music, industry, inventions, and recording artist, Clifford Alexis is best known for contributions in the design, tuning, and performance of steel drums. See PAS Hall of Fame. For a full biography, visit www.pas.org.
alfandoque (Sp.). Colombian maracas. All Metal Snare Drums. Initial advertising slogan for Ludwig & Ludwig. It was used to promote their construction using all metal parts as opposed to the then-popular use of wood shells and counterhoops. alla metà (It.). In (or at) the middle. alle (Ger.). All or tutti. allein (Ger.). Alone or solo. allentare (It.). Loosen. allmahlich öffnen (Ger.). Gradually (or slowly) open. all’ordinario (It.). Play in the ordinary manner. Almglocken, Almglocke (Ger.). Tuned cowbells or cowbell from the Alps. They have a rounded shape, and although they traditionally have an internal clapper, Almglocken are usually struck by a stick or mallet. Often, they are found suspended or mounted in chromatic sets.
almirez (Sp.). Spanish term for brass mortar, used as percussion instrument in Panama. Alpenglocken (Ger.). See Almglocken. Alpine herd cowbells. See Almglocken. Altenburger Pergament and Trommelfelle heads. Established in 1882, Altenburger Pergament and Trommelfelle GmbH is a German parchment (or vellum) company that manufactures high-quality animal skin drum heads for use on timpani and drums. Alternate Mode. Alternate Mode is a U.S.-based electronic percussion company best known for the malletKAT. It also markets other drum systems under
the KAT brand name, such as drumKAT, trapKAT, panKAT, jamKAT, and GIGKAT, as well as triggers, pads, assorted MIDI and audio devices, connections, and software. alternating sticking. A sticking process established by using either hand (R or L) as the beginning hand for the first note written and then striking the other in an alternating fashion throughout a phrase of music regardless of what rhythm presents itself. The sticking, then, for all rhythms in an entire phrase would be RLRLRLRL or LRLRLRLR. aluminophone. Early 20th-century keyboard percussion instrument with aluminum bars, used as a substitute for the xylophone in early recordings. aluminophone de Emilio. A microtonal tubaphone designed by Emil Richards. It has a three-octave range with 120 total tubes and appears in film scores for The Karate Kid and The Last Starfighter. aluminum alloy. A composite metal where aluminum is the predominant metal. Other metals included in the alloy may be copper, magnesium, manganese, silicon, tin, and zinc. Aluminum alloys are often used to make cast counterhoops or rolled drum shells, as well as some types of drum stick shafts. aluminum bells. Glockenspiel made from aluminum bars, popular in the early 20th century because of their light weight. Aluminum Chimes. Instrument manufactured by Deagan that is similar to the Deagan Organ Chime, with three tubes instead of four. See angklung. aluminum drum. A drum having an aluminum shell. aluminum harp. A Deagan instrument consisting of nickel-plated bell metal tubes of graduating length. Each tube is center mounted in a vertical position, half above and half below a horizontal board. The tubes are played when stroked or rubbed by rosin-covered gloves. aluminum spurs. Extra large spurs for use on bass drums in early 20th-century drum outfits (drum sets, drum kits). am Rand (Ger.). At edge (or rim).
am Rande der Membrane (Ger.). At edge of the drum head. am Rande des Telles (Ger.). At edge of the head. ambira (Af.). (1) A kalimba-styled lamellaphone; (2) An Ethiopian xylophone (balafon) with vibrating membranes on the resonators. Ambose, Amboss (Amboß) (Ger.). See anvil. ambulance gong. Bell plate used to imitate the alarm bell on an ambulance from the early 20th century. amele (Por.). See rattle. American Drum Manfacturing Company. Dresden-style timpani manufacturing company established in Denver, Colorado, by Walter J. Light in 1950 and continued under the direction of Marshall Light. American drum rudiments. Fundamental sticking patterns established in the American drumming tradition and published in early drum methods, tutors, and books beginning in 1812. See rudiments and appendix N, “PAS 40 International Drum Rudiments.” See Ashworth, Charles Stewart. American Indian drum. Single- or double-headed cylindrical drum played by Native American tribes. The shell is usually wooden with a leather, lacetensioned animal hide. The drums are a communal event with several performers seated in a circle around the drum, each playing with a single covered beater while singing. The hide may be shaved clean of the fur, but often the fur is still intact. American Indian tom-tom. See American Indian drum. American Legion Drum and Bugle Corps. Chartered in 1919, the American Legion established drum and bugle corps at each local post. These corps, which began competitions at the National Convention in 1921, ultimately grew into the largest drum and bugle organization in the United States, with over 6,000 documented corps. This was the foundation for all modern drum and bugle organizations in the United States. See drum corps. amortiguar (Sp.). To mute, muffle, or choke.
amplified vibraphone. An acoustic vibraphone with electronic pickups. anchor (heaving). Imitation sound effect of an anchor in motion. See traps. ancient cymbals. See antique cymbals. ancore (It.). See anchor. Anfangsgründe (Ger.). Rudiments (or basics) of drumming. angebunden (Ger.). Fixed or attached. angklung (Jav.). Pitched, bamboo rattles that originated from Laos, Thailand, Java, and other South Pacific islands. Each rattle consists of two to four tongues that sound in octaves when shaken. Chromatic sets are possible for performance by one or more individuals, or individual rattles may be performed similar to a modern hand-bell choir. In the early 1900s, Deagan manufactured chromatic, metal angklung, called Organ Chimes or Aluminum Chimes.
angle reduction bar. A narrow metal plate with a series of holes mounted to the hoop of a parade drum. When carried by a sling using a leg rest, a player’s choice of hole will reduce the angle at which the drum hangs. angora drum head. Drum head made of sheepskin. angua (SA). Water drum of Brazilian Guaraní tribe. Anheier, Hans. German timpanist and instrument designer who, in 1924, developed the Anheier cable system for rapid tuning of hand-tuned drums. The design consists of a spool that attaches to each threaded tension rod, all of which are connected by a cable. By turning any single spool, all tension rods move together.
animal bells. Any bell originally designed to be worn on an animal, usually having an internal clapper. animal sounds. Imitation sound effects of animals, usually cow, horse, pig, or sheep. See traps. animal-skin heads. Drum heads made of natural animal hide, usually calf, cow, steer, goat, or pig. ankle bells. Bells of metal or natural materials, such as hoofs or pods, mounted on a strap and tied to the ankles. anklung. See angklung.
anodize. An electro-chemical process, often used on aluminum, to coat and/or color the metal with a decorative, durable finish. anschlagen (Ger.). To beat or strike. Anschlagstellen (Ger.). Striking position or spot. antelope horn rattle. Rattle made from an antelope horn, commonly used by Native American tribes. antiguos cimbalos (Sp.). See antique cymbals. antik Cymbeln, antike Zimbeln (Ger.). See antique cymbals. antique cymbals. Small brass cymbals that can either be played in pairs or struck individually with a mallet. Early antique cymbals were without definite pitch, and are found in the modern instruments called finger cymbals. Pitched antique cymbals, such as that found in Debussy’s Prelude to the Afternoon of a Faun, are now known as crotales and are commonly found mounted in chromatic sets of one or two octaves.
anvil. An instrument constructed from lengths of steel pipe (round or square), from solid steel plate or bar, or a small section of railroad rail. Though actual anvils, not pitched, are sometimes used, this instrument is usually an imitation. Chromatic anvil sets are possible when pitches are requested, such as in George Benjamin’s Antara. Fr. enclume; Ger. Amboß; It. incudine; Sp. Yunque. apagar (Sp.). To mute, muffle, or choke. apentema, apentemma (Af.). African talking drum constructed from a single log in either a bowl or goblet shape, with a laced, pegged tension system. The drum can be played with the hands, using open and closed strokes, in order to imitate the sound of vocal inflections, and is usually used to accompany two larger drums called atumpan. apito (Por.). A three-toned Brazilian whistle, commonly known as a samba whistle. aporo. African double bell. appeau (Fr.). See bird call. appéna (It.). Barely, hardly. appéna toccata (It.). Barely touching. Aquarian. Founded in 1980 by drummer Roy Burns, Aquarian is a leading manufacturer of drum heads, sticks, and accessories. Arabian hand drum. See darabukka. Arabische Trommel (Ger.). Arabian drum. See darabukka. arbu. New Guinean rattles made from snail shells. arco (It.). An indication to play using a bow. Arenaiuolo (Ger.). Sand rattle or maracas. armonica. See glass harmonika.
armonica de vetro (It.). See glass harmonika. Ärophon (Ger.). See aerophone. arrêter (Fr.). To stop or muffle. Arsenault, Frank (May 21, 1919–Dec 26, 1974). Elected to the Percussive Arts Society’s Hall of Fame in 1975 in the categories of author, education, and rudimental, Frank Arsenault is best known as a world-champion rudimental snare drummer. See PAS Hall of Fame. For a full biography, visit www.pas.org. ArtGold. Decorative gold plating for hardware (counterhoops, tension rods, tension casings, and strainers), by Slingerland. Also known as “nobby” gold. artillery shell gong. Suspended metal casing from an artillery round. As (Ger.). A♭. Ashworth, Charles Stewart. Author of the first American drum tutor, A New, Useful and Complete System of Drum Beating, published by the author in Boston in 1812. Ashworth was the drum major (conductor) for what would become the United States Marine Band. This book contains the first listing of American drum rudiments, as well as the Camp Duty, and served as a foundation for all future methods of American rudimental drumming. Asmat tribal drum. Ornately carved, hourglass drum used by the Asmat tribe of Papua, New Guinea. The lizard-skin head is traditionally glued to the shell with a mixture of human blood and lime, and then wrapped by braided plant fibers. ass, jawbone of an. See quijada. assez dur (Fr.). Medium hard. assignment sheet. An organizational chart for part assignments to players of a percussion section in a symphonic band or orchestra. An assignment sheet often includes a complete list of instruments in order to have them delivered from storage to the rehearsal hall. See appendix M.
asson (Sp.). Haitian rattle. assotor (Sp.). Haitian drum. assourdies (Fr.). See muffled. assovious (Por.). See whistle. atabal (Sp.). Timpano, or a single timpani. atabalero (Sp.). Timpanist. atabaqué (Por.). Afro-Brazilian drum made of a solid log with a single head. atambor (Sp.). Arabian military drum used in processional music, similar to a side drum or field drum. atoke (Af.). Iron bell formed in the shape of a boat and played with a single metal rod. atsimeyu (Af.-Ewe). A tall, single-headed, pegged barrel drum of the Ewe people. It is the master drum of the drum ensemble, played with sticks, and leaned at an angle on a supporting stand due to its height. attached cymbal. A cymbal that is attached to a bass drum. In early jazz music this could be struck by a cymbal striker attached to the bass drum pedal when the cymbal was mounted vertically to the counterhoop of the bass drum. In orchestral music, the cymbal is attached to the top of the bass drum and struck with another hand cymbal or, during the late 19th century, by a beater made of a hoop of wire with a handle.
attached rattle. A ratchet that is mounted on the counterhoop of early drum outfits (drum sets, drum kits). attachments. Various traps, small instruments, or hardware for traps or sticks that attach to a player’s instruments or stands. Examples include cymbals, woodblocks, cowbells, ratchets, small toms, and the holders for these instruments. atumpan (Af.). A large, goblet-shaped, pegged drum from Ghana. It is the largest drum of the “talking drum” set. Two of them are played by the master drummer. au bord (Fr.). At the edge or rim. au bord de la membrane (Fr.). At the edge of the head. au centre (Fr.). At the center.
au milieu (Fr.). At the middle. auctioneer’s gavel. Wooden hammer used by an auctioneer. This is a sound effect found in Copland’s opera Hear Ye, Hear Ye. audition. A formal playing performance required by an applicant for a position with a band or orchestra. In popular bands, it may consist of just “sitting in” on a few songs or pieces, but for full-time orchestra or military bands, there is usually a series of rounds with required pieces and excerpts to be performed in order to determine the best player for the vacant position. See appendix B, “A Practical Guide to University and College Percussion Auditions,” and appendix C, “A Guide to Professional Orchestral Percussion Auditions.” Audubon. Song bird chirp imitation. The sound is created using friction by twisting a small, wooden insert inside a concave wooden receiver. See traps. auf (Ger.). On. auf beiden Fellen (Ger.). On both heads. auf dem, auf den, auf der (Ger.). On the. auf dem Fell (Ger.). On the skin. auf dem Holzstabchen (Ger.). On the wooden bars or keys. auf dem Rand (Ger.). On the rim. auf dem Reifen (Ger.). On the hoop. auf den Rand (Ger.). On the rim. auf den Saiten (Ger.). Snares on. auf der Kuppel (Ger.). On the cup (bell of cymbal). auf der Mitte (Ger.). On the center (of head, bar, etc.). aufgehängt (Ger.). Hanging or suspended.
Au-Go-Go. See agogo bells. auto chug-chug and motor boat imitation. Imitation or sound effect of an early automobile. See traps. auto horn. A bulb horn, sometimes pitched, as used to imitate early automobiles by Gershwin in An American in Paris. Full, chromatic sets are possible and can be mounted on a frame. Autobremstrommeln (Ger.). Automobile brake drum. Autohupe (Ger.). See auto horn. automatic cymbal muffler. An attachment to the bass drum pedal for early jazz outfits that allowed a player to muffle the foot cymbal by pulling back on the pedal. automobile brake drum. See brake drum. automobile chug-chug. See auto chug-chug. automobile horn. See auto horn. auxiliary drum. A novelty for drum corps in the early to mid-20th century. It was an extra, small drum added onto the wooden hoop. avec (Fr.). With. avec 4 baguettes (Fr.). With four mallets. avec archet (Fr.). With a bow. avec baguettes de timbales (Fr.). With timpani sticks or mallets. avec batte de triangle (Fr.). With a triangle beater. avec cordes (Fr.). With snares. avec deux mains (Fr.). With two (both) hands. avec la main (Fr.). With the hand. Play with hand or hands.
avec le bois (Fr.). With the wood. Play with wooden mallets. avec le pouce (Fr.). With the thumb. This is often on tambourine parts for thumb roll. avec les cordes lâches (Fr.). With the snares off. avec les doigts (Fr.). With the fingers. avec les mains (Fr.). With the hands. avec mailloche (Fr.). With a heavy beater (such as a bass drum or tam-tam beater). avec sourdine (Fr.). With a mute or damper. avec timbres (Fr.). With snares, or with snares on. axatse (Af.). African gourd rattle. See shekere. ayacachtli (Sp.). Mexican gourd rattle. See shekere. Aztec maracas. Mexican maracas made of metal.
B B nach C (Ger.). Change B to C, when tuning timpani. b.d., bd, B.D., BD. Abbreviation for bass drum. baby cry. An instrument that imitates the cry of a baby. See traps. baby rattles. Small rattles, usually made with a thin plastic body. bacch (It.). Abbreviation for bacchétta (singular) or bacchétte (plural). bacchétta (bacchétte) di (It.). Stick (sticks) of. A generic term that is usually qualified with the kind of stick (s) or beater (s), as in bacchétte di légno (sticks of wood or wooden sticks). bacchétta di fèrro (It.). Iron stick or rod. bacchétta di gomma elastic (It.). Rubber mallet. bacchétta di gomma elastic mezza dura (It.). Medium-hard rubber mallet. bacchétta di gran cassa (It.). See bass drum mallet. bacchétta di légno (It.). Wooden stick. bacchétta di metallo (It.). Metal stick. bacchétta di pèlle (It.). Leather stick. bacchétta di spugna (It.). Soft mallet. bacchétta di tamburo (It.). See snare drum sticks. bacchétta di tamburo militaire (It.). See snare drum sticks and marching percussion. bacchétta di timpani (It.). See timpani mallets.
bacchétta di timpani a légno (It.). Wooden timpani stick. See timpani mallets. bacchétta di timpani a spugna (It.). Sponge timpani stick. See timpani mallets. bacchétta di timpani mòlle (It.). Soft timpani stick. See timpani mallets. bacchétta di triàngolo (It.). See triangle beater. bacchétta dura (It.). Hard stick. bacchétta morbide (It.). Soft stick. bacchétta ordinaria (It.). As ordinarily played. bacchétte del tamburo (It.). See snare drum sticks. bacchétte di légno (It.). Wood sticks, beaters, or mallets. bacchétte di spunga (It.). Sponge sticks. bacchétte di vétro sospése (It.). Glass wind chimes. bacchétte ordinario (ord.) (It.). Normal sticks or mallets. bacchétto (It.). See stick. bachette tenere (It.). Soft mallets. backbeat, back beat. Rhythmic emphasis on the weak beats of a measure. In rock and jazz music, this occurs on counts 2 and 4 in a 4/4 meter by playing a heavy accent on the snare drum of a drum set, thus providing a rhythmically steady drive throughout the song. backbone. On a natural skin drum head, the line of thicker skin that was created when it rubbed against the live animal. As it is thicker, it creates a dividing line in the head for vibrations, often creating clearly audible overtones and vibration patterns on finely tuned heads, such as the type used on timpani. backline. The instruments set up in a line behind the main or solo performers in a popular music concert. These instruments are often rented locally for
touring performers and include amplifiers, timpani, keyboard percussion instruments, congas, bongos, and other accessory instruments. backsticking, back sticking. A visual technique and audio effect produced by rapidly flipping a stick 180 degrees and striking the instrument with the butt end. This is an often used performance technique for marching drum lines or rudimental players when playing solos and has many variations that continue to be developed in regards to beating spots, timing, and in conjunction with other visuals. badge. The name plate affixed to a drum, often at the vent hole. Badges identify manufacturer, may identify the date a drum was manufactured, and may have a stamped serial number. bag. Soft case for carrying instruments, sticks, mallets, or beaters. bag. tamb (Fr.). Abbreviation for snare drum sticks. baguette, baguettes (Fr.). This is a generic term for any type of stick, beater, or mallet and usually occurs with some type of modifier or qualifier specifying a specific material, hardness, or category of stick. See baguette de, stick, and sticks. baguette d’acier (Fr.). Steel stick. baguette de, baguette d’, baguette en (Fr.). Stick (sticks) of, or beater (beaters) of. A generic term that is usually qualified with the kind of stick(s) or beater(s), as in baguette de timbales en bois meaning sticks for timpani of wood, or wooden timpani sticks. baguette de bois (Fr.). Wooden stick. baguette de caisse claire (Fr.). See snare drum stick. baguette de metal (Fr.). Metal stick or beater. baguette de tambour (Fr.). See snare drum stick. baguette de timbales (Fr.). See timpani mallets.
baguette de timbales douce (Fr.). Soft timpani stick. See timpani mallets. baguette de timbales en bois (Fr.). Wooden timpani stick. See timpani mallets. baguette de triangle (Fr.). See triangle beater. baguette d’éponge (Fr.). Sponge stick. This is a stick, beater, or mallet with a head made of sponge or felt. baguette douce (Fr.). Soft stick. baguette dure (Fr.). Hard stick. baguette en cuir (Fr.). Leather-headed stick. baguette en éponge (Fr.). Sponge stick or beater. baguette en fer (Fr.). Iron stick or beater. baguette en metal (Fr.). Metal stick or beater. baguette en rotin (Fr.). Stick made of rattan. baguette entrechouquée (Fr.). See concussion stick. baguette frappée (Fr.). Strike with stick, beater, or mallet. This usually implies that a performer has previously been instructed to strike an instrument with a different implement, such as a brush, finger, or hand. baguette mince (Fr.). Thin drum stick. baguette normale (Fr.). Normal or ordinary stick. baguette ordinaire (Fr.). Normal or ordinary stick. baguettes de timbales (Fr.). Timpani sticks. See timpani mallets. baguettes de verre suspendues (Fr.). Glass wind chimes. baguettes legeres (Fr.). Light sticks.
baguettes ordinaires (Fr.). Normal or ordinary sticks. baguettes seules (Fr.). Single sticking or to play with one hand. Bailey, Elden C. “Buster” (Apr 22, 1922–Apr 13, 2004). Elected to the Percussive Arts Society’s Hall of Fame in 1996 in the categories of author, education, orchestral, radio/television, and recording artist, Buster Bailey is best known for his 42-year career as a percussionist for the New York Philharmonic. See PAS Hall of Fame. For a full biography, visit www.pas.org. bajo (Sp.). Bass. Bakelite. An early resin plastic, Bakelite was used to manufacture various sound effect instruments and parts to drums during the first part of the 20th century. Bird calls, whistles, toy flutes, and other sound effects made of Bakelite still survive as functioning instruments. balafon, balafone (Af.). West African xylophone with gourd resonators. The instrument is usually constructed with a single row of keys and played with two hard beaters. balais (Fr.). Brush or wire brushes. balais métallique (Fr.). Wire brushes. balanced-action system. Patented by W. F. Ludwig and Robert Danly in 1925, this spring-operated system for holding tension on a timpani head eliminated any type of clutch or ratchet mechanism, thereby revolutionizing and simplifying the process of changing pitches. See timpani. Balinese gongs. Deep-sided pitched brass gongs that are cast with a prominent boss and usually suspended flat in either a straight or circular arrangement on a frame. They are tuned to various pentatonic (five-note) or heptatonic (seven-note) scales depending on the region of Bali from which they originate. Balinese gongs of all sizes are prominently featured in gamelan orchestras. ball bearing pedal. A bass drum pedal having ball bearings within the pivot connection for the cross arm.
ball nut. A nut that allows for movement in any direction, except the direction of the screw. It is often used for adjustable stands or other hardware that require large ranges of motion for individual placement. balloon. A flexible bag, usually made of rubber, that is caused to sound by (1) the act of blowing it up (a puffing sound) or (2) popping it, usually with a straight pin. balsie tumbado (Sp.). Shallow but rather low-pitched drum from Santa Domingo. Balter, Michael. Elected to the Percussive Arts Society’s Hall of Fame in 2015 in the categories of industry, inventions, radio/television, recording artist, and theater, Michael Balter is best known as a Chicago-area percussionist and the founder owner of Michael Balter Mallets. See PAS Hall of Fame. For a full biography, visit www.pas.org. bambàgia (It.). Cotton, wool, or a padded drum stick. bamboo rattle. See angklung. bamboo scraper. A short length of hollow bamboo with notches carved in the body, scraped with a short rod, stick, or bamboo splinter. It is similar to the güiro. bamboo shaker. A hollow piece of bamboo filled with shot or seed and shaken by hand. bamboo slit logs. Hollow lengths of bamboo with closed ends and a slit down the length of the tube. One end is trimmed as a handle by which the instrument can be held or when struck it creates an additional pitch. bamboo wind chimes. Lengths of bamboo, suspended from a frame to clatter together. bambou (Fr.). Bamboo. bambou Brésilien (Fr.). Brazilian bamboo shaker. bambou suspendue (Fr.). See bamboo wind chimes.
bamboula (Afr., Fr.). A single-headed, Haitian drum made from the trunk of a large bamboo tree. See bambulá. bambù (It.). Bamboo. bambù Brasiliano (It.). Brazilian bamboo shaker. bambù sospéso (It.). See bamboo wind chimes. bambulá (Fr.). An instrument made of a hollowed tree trunk with a single, laced head that is played with both hands. It is common to the French Antilles and Louisiana. Bambus (Ger.). Bamboo. Bambusraspel (Ger.). See bamboo scraper. Bambusrohre (Ger.). See bamboo wind chimes. Bambustrommel (Ger.). See boobams. band (reinforcement). See reinforcement ring. band or orchestra bells. See glockenspiel. banda turca (It.). See Janissary music. Bantam rooster imitation. See rooster crow. banya (Hin.). See bāyā. bapó (Br.). See maracas. baqueta (baquetas) (Por., Sp.). See snare drum stick (sticks). baquette de caoutchouc (Fr.). Rubber mallet. baquette de caoutchouc dur (Fr.). Hard rubber mallet. baquette de caoutchouc sem-dur (Fr.). Medium-hard rubber mallet.
baquette de clavier (Fr.). Generic term for a mallet used on a keyboard percussion instrument. baquettes entrechoquées (Fr.). See concussion sticks. bar chimes. A row or rows of thin, metal rods or tubes mounted on a horizontal bar, usually in a graduated order, high pitch to low pitch. It is played by swiping a hand or mallet through the entire length of the chimes, high to low in pitch, causing them to strike against each other. See Mark Tree.
bar percussion instruments. A generic term for keyboard percussion instruments, such as the xylophone, chimes, marimba, vibraphone, and glockenspiel or orchestra bells. Also known as mallet percussion instruments. baraban (Rus.). See drum. baril de bois (Fr.). A wooden barrel, or barrel drum. baril de sake (Fr.). See sake barrel. barile di légno (It.). A wooden barrel, or barrel drum. barile di sake (It.). See sake barrel.
baritone drum. A low-pitched (but not the lowest pitch) drum in a set of indefinite-pitched drums, such as a set of toms. For marching instruments, the term tenor drum is often used, with a baritone drum being lower than a tenor drum. barking dog. See dog bark. baroque timpani. See timpani. barrel drum. Any drum with a barrel-shaped shell (i.e., with a larger diameter in the middle than at the ends). It can be single headed or double headed. bars. The tuned wood, metal, or synthetic keys of a keyboard percussion instrument. See marimba. base approach to rolls. A pedagogical method of teaching various rhythmic divisions for each beat and applying double or multiple-bounce strokes to each of the divisions in order to maintain correct tempo while executing various lengths of rolls. See basic beat of roll. baseball bat lever. Slang term for the tone control on-off lever found on mid20th-century snare drums manufactured by Ludwig. Its simplistic design allowed three quick settings for dependable muffling of the batter head. Named for its shape, which resembles a baseball bat. Basel drum. A rope-tensioned field drum used in rudimental music associated with the city of Basel, Switzerland. Basel drumming. The rudimental style of snare drumming that originated in Swiss military music. It has a unique notation system using numbers and stem directions for left and right hands. basic beat of roll. The measured strokes of the hand or arm when executing a double-stroke or multiple-bounce stroke roll. basket rattle. A container of woven bamboo or plant material that holds seeds or pellets. Basketrommel (Ger.). See tambour de basque.
Basle drum. See Basel drum. Basle drumming. See Basel drumming. Basle Trommel (Ger.). See Basel drum. Basler drum. See Basel drum. Basler Trommel (Ger.). See Basel drum. Basque Trommel (Ger.). See tambourine. bass chimes. Tubular chimes that have a range below the standard range of a set of chimes. They can be anywhere from C2 to C4 and are usually mounted or hung with just the required pitches for a specific piece. bass drum. A large drum of indefinite pitch, usually double headed. The orchestral or concert instrument is mounted vertically or horizontally on a stand and struck with a large beater. The bass drum of a drum set rests on the floor and is struck with a foot-operated beater called a bass drum pedal. Fr. grosse caisse; Ger. Grosse Trommel; It. gran cassa; Sp. Bombo. bass drum case. A storage or transportation box designed for a bass drum. It can be made of hard vinyl, plastic, or wood and is used as protection for the instrument when not in use, or when moving. bass drum claws. Curved hooks with a single or double arm that attach to the counterhoop of a bass drum by means of a tension rod. The rod can be of single tension or double tension construction allowing tuning of the drum to be separate for each head or simultaneous for both heads. The tension rod can be tuned by hand via a T-shape end on the tension rod, or with a standard-sized drum key. bass drum club. See bass drum mallets. bass drum mallets. Beaters having a large head, usually of substantial weight, mounted on a medium-diameter shaft. The head, which has a wooden, rubber, or felt core, is covered with felt, lamb’s wool, or chamois. Sometimes, the mallet head is constructed of a solid felt or wood piece and left uncovered for articulate passages.
bass drum mitten (mitt). A soft mitten worn on the non-striking hand by a bass drum performer. It is used to muffle and/or mute the head while playing, thereby avoiding any extraneous sounds of the drum head vibrating against an uncovered hand. bass drum pedal. A foot-operated beater used to strike a bass drum when it is placed on the floor as when part of a drum set.
bass drum pedal with cymbal striker. A bass drum pedal with a metal arm attached to the shaft of the beater. In the early 20th century, it was used to strike a small cymbal that was attached to the counterhoop of a bass drum on the floor. Both the bass drum and cymbal sounded simultaneously with a single stroke. bass drum spur. A spike or footed leg attached to the shell or counterhoop of a drum set bass drum. It is used to prevent the drum from creeping forward when struck forcefully by the bass drum pedal beater. bass drum sticks. See bass drum mallets. bass drum with attached cymbal. An instrument that consists of a concert bass drum with one of a pair of crash cymbals mounted face up on the top of the drum. This instrument is played by a single player who strikes the drum with a beater and the attached cymbal with the free cymbal. The method for performing these instruments derives from the marching or military band tradition and is effective when extra players are not available. It occurs in the music of Mahler and Stravinsky, both of which are imitating the military
band tradition. bass marimba. A marimba with a range of C2 to F3, which is one octave below the standard four-octave marimba range of C3 to C7. As ranges vary, the bass marimba sometimes goes as low as G1, but usually maintains a range of one-and-one-half octaves. bass metallophone. A keyboard percussion instrument with metal bars, usually having a narrow, diatonic range. These are commonly used for elementary music instruction or for gamelan orchestras and have bars made from steel, brass, or aluminum and are the lowest sounding instrument in these types of ensembles. bass tone. The deep, full-bodied sound produced on a hand drum, such as a conga or djembe, when struck in the middle of the head with the open palm or heel of the hand. It is usually desirable to let the head ring when producing this stroke. bass xylophone. A xylophone with a range as much as one full octave lower than the standard xylophone. basse de Flandres (Fr.). See bumbass. basso (It.). Low or bass. Baßtrommel, Basstrommel (Ger.). Bass drum. batá drum (Af.). A double-headed hourglass drum used in Afro-Cuban music. The three sizes are iyá (largest, and the master drum), itótele or omelet, and okónkolo (smallest). The drummer plays seated, holding the drum horizontally while striking the small head with the left hand and the large head with the right. batá-cotó (Por.). Afro-Brazilian war drum. batería (Sp.). Battery or percussion section. batintín (Sp.). Chinese gong. bâton (Fr.). Drum stick, thin beater, or rod.
bâton mince d’acier (Fr.). Thin steel stick or beater. batte (Fr.). Mallet or beater. battènte (It.). To beat, to hit, to strike, or a beater or stick. batter head. The top head of a snare drum or tom. batterìa (It.). Battery or percussion. batterie (Fr., It.). Percussion. battery. The percussion section of an orchestra, band, or other musical ensemble. The term is commonly used in British music. battre (Fr.). To beat, to strike. battuto (It.). Beaten, hammered, struck. batutto colla mano (It.). Struck with the hands. bāyā (Hin.). Hand drum from northern and central India, it is the lower pitched of a set of tablā drums, also known as the duggī. It has a metal shell with a single skin head held on with leather straps. A circular patch of black paste is affixed to the center of the head to help focus the pitch of the drum. BDP. Acronym for Black Diamond Pearl. bead of stick. The shaped, playing end of a snare drum stick. See snare drum sticks. bean can. A rattle made from a tin can with dried beans inside. bean pod. See pod rattle. bear growl. See lion’s roar. bearing edge. The edge of a drum shell that bears the weight of the tension of the head. Its shape affects the overall tone of a head. Common shapes are (1) to have the edge cut at a 45-degree angle and (2) to have it cut in a semicircular configuration.
beaten rattles. A category of percussion rattles sounded by striking or shaking. Common rattles of this type include the angklung, sistrum, jingle stick, quijada, andvibraslap. beater. A generic term for a mallet, stick, or striker used to produce sounds on percussion instruments. beating spot. The exact location on an instrument where the stick, mallet, beater, or hand contacts the instrument or head. beben (Pol.). Drum. Beck, John H. (b. Feb 16, 1933). Elected to the Percussive Arts Society’s Hall of Fame in 1999 in the categories of author, composition, education, orchestral, and timpani, John H. Beck is best known for his positions as first percussion and then timpanist with the Rochester Philharmonic Orchestra and as professor of percussion at the Eastman School of Music. See PAS Hall of Fame. For a full biography, visit www.pas.org. Becken, Beck (Ger.). Cymbal(s). Becken an der grosse Trommel befestigt (Ger.). Cymbal attached to the bass drum. See bass drum with attached cymbal. Becken auf Ständer (Ger.). Cymbal on a stand or suspended cymbal. Becken frei (Ger.). Free cymbal or suspended cymbal. Becken hängend (Ger.). Hanging cymbal or suspended cymbal. Becken mit dem Schlägel (Ger.). Cymbal struck with a snare drum stick. Schlägel, a generic term for a stick, usually connotes a snare drum stick when used without a modifying term. Becken mit einem KtrbssBogen gestrichen (Ger.). Suspended cymbal played with a bass bow. Becken mit Fußmaschine (Ger.). See hi-hat. Becken mit Teller (Tellern) (Ger.). Pair of cymbals or crash cymbals.
Becken naturlich (Ger.). See crash cymbals. Becken paarweise (Ger.). Pair of cymbals or crash cymbals. Becken Tambourin (Ger.). See tambourine. Beckenmaschine (Ger.). See hi-hat. Beckenriemen (Ger.). See cymbal strap. Beckenschlag (Ger.). Cymbal crash. Beckentrommel (Ger.). Tambourine without a head. bedeckt (Ger.). Covered (with). bedug, beduk, bedhug (Jav.). A large, double-headed, barrel-shaped drum used in the Javanese gamelan orchestra. Suspended sideways in a frame, the drum is struck with a mallet. bee hum. An instrument, either mechanical, blown, or electronic, that imitates the hum of a bumble bee. See traps. beer can maracas. Maracas constructed from aluminum beer cans. They have small metal pellets inside and a wooden handle attached to one end. befestigt (Ger.). Fastened or attached. beffroi (Fr.). See alarm bell. behind the beat. A performance practice whereby a drummer places a note or notes slightly after the exact time of a beat or beats creating a sense of holding the tempo back or dragging, though still maintaining steady time and tempo. Beinklapper (Ger.). Clappers or bones. belegt (Ger.). Covered or muffled. bell. A brass, bronze, or cast percussion instrument, usually hollow and struck to ring by an internal clapper. Constructed in a variety of sizes, these
instruments include church bells, dinner bells, and hand bells, and are normally sounded as a single bell at a time. In addition, a wide variety of types of bells can also be made for various animals, such as a cowbell or sheep bell. See bells. bell (of cymbal). The raised area in the center of a cymbal. bell chimes. A set of small, tuned, suspended bells, usually without clappers, that are struck with a mallet or hammer. bell clapper. A striker or beater hung inside a bell that strikes the instrument when the bell is swung or shaken. bell lyra, bell lyre. A small, chromatic glockenspiel mounted in a lyre-shaped frame. The instrument is constructed of lightweight aluminum bars, held in a vertical position on a harness, and played with a single mallet while marching. bell mallets. See glockenspiel mallets. bell piano. A specially constructed string instrument, resembling a large dulcimer, used to simulate the sound of bells in Wagner’s Parsifal. bell plate. A rectangular metal plate suspended by a cord and struck with a hard beater. Usually of indefinite pitch, it is sometimes notated with pitch. Used as sound effects, they often substitute as imitations for bells found on a locomotive, factory, church, fire, or street, and when laid flat can be used as a striking surface for horse hooves or clog mallets. Fr. cloches-plaques; Ger. Plattenglocken; It. campane in lastra di metallo. bell strap. Ankle bells worn by Native American dancers. bell tree. A series of cup-shaped bells, suspended on a string or pole, arranged by size from the largest (lowest pitched) to the smallest (highest pitched). They are played with a brass or metal rod or mallet by stroking them from one end to the other, thereby producing a glissando effect.
Belli, Remo (Jun 22, 1927–Apr 25, 2016). Elected to the Percussive Arts Society’s Hall of Fame in 1986 in the categories of drum set, industry, and inventions, Remo Belli is best known as the founder and owner of Remo Inc., a leading manufacturer of drum heads, drums, and other percussion products. See PAS Hall of Fame. For a full biography, visit www.pas.org. bells. A term for glockenspiel or orchestra bells or for a group of two or more instruments having the shape of a bell, such as cast church bells, hand bells,
or semi-spherical (cup-shaped) bells. This term can also be applied to any instrument with a bell-like sound, such as a set of tubular chimes or ankle bells. See bell. bells of wood. See wood bell. Bellson, Louie (Jul 6, 1924–Feb 14, 2009). Elected to the Percussive Arts Society’s Hall of Fame in 1978 in the categories of author, band leader, composition, drum set, education, radio/television, and recording artist, Louis Bellson is best known as a virtuoso big band drummer and the leader of his own bands, as well as for his work with such artists as Duke Ellington, Benny Goodman, and Tommy and Jimmy Dorsey. See PAS Hall of Fame. For a full biography, visit www.pas.org. belt hook. A metal hook, often made of brass, that attaches to a waist belt and to which a drum is suspended for marching. belts (bass and snare drum). A belt, usually made of leather or a woven fabric web, to which is attached a belt hook designed to hold a drum for marching. bendir. A North African frame drum with snares underneath its single head. Benson, Warren (Jan 26, 1924–Oct 6, 2005). Elected to the Percussive Arts Society’s Hall of Fame in 2003 in the categories of author, composition, and education, Warren Benson is best known in the field of percussion as the composer of numerous solos and chamber pieces for percussion, including his most famous Three Dances for Snare Drum, and for his position as professor of composition at the Eastman School of Music. See PAS Hall of Fame. For a full biography, visit www.pas.org. Bergamo, John (May 28, 1940–Oct 19, 2013). Elected to the Percussive Arts Society’s Hall of Fame in 2012 in the categories of author, composition, education, ethnic music, radio/television, and recording artist, John Bergamo is best known for his wide-ranging musical approach in all genres of music through his teaching at CalArts and performances utilizing world-music instruments. See PAS Hall of Fame. For a full biography, visit www.pas.org. berimbau (Por.). A musical bow from Brazil composed of a single wire connected to the top and bottom of a bowed stick with a gourd resonator at the bottom of the bow. Held in the left hand, the wire is struck by a smaller
stick in the right hand, which also holds a small wicker shaker called a caxixi. The performer changes pitches by pressing a coin or rock against the wire.
berra-boi (Por.). See bull roarer. Besen (Ger.). Wire brushes. Besen Knopf (Ger.). With the knob (button) end of a brush. See brushes. Besengriff (Ger.). Handle of brushes.
beveled wood hoops. Wooden flesh hoop with one side curved rather than a square shape. See flesh hoop. bhaya (Hin.). See tablā. bicchièri di vétro (It.). See tuned glasses. bicchieri e coro donne (It.). Drinking glasses and women’s chorus. bicchieri percossi con la lama d’un coltello da tavola (It.). Drinking glasses struck with the blade of a table knife. This is most often done as a sound effect for clinking glasses, and played from either on stage or from the pit. bicycle bell. A small metal bell used as a warning signal by a bicyclist. Big 3 drum manufacturers. Slang term for the three largest American drum manufacturers during the majority of the 20th century (i.e., Ludwig, Slingerland, and Leedy). Big Ben. An imitation or sound effect that simulates the melodic chime played by the Big Ben clock tower in London. big drum. See bass drum. bike bell. See bicycle bell. bin-sasara, binsasara, binzasara. A Japanese instrument consisting of a series of small wooden slats strung on a rope, with a handle on each end. When shaken in a wave motion it produces rapid wooden slaps, similar to a ratchet. bird call. An imitative call, whistle, mechanical, or electronic effect used to emulate a bird song or chirp. Common bird calls are the nightingale, cuckoo, duck, crow, goose, chicken, and rooster. See nightingale bird call and traps. bird call whistle. See bird whistle and bird call. bird flock whistle. See bird whistle and bird call.
bird warbler. See bird whistle and nightingale bird call. bird whistle. A hollow vessel or tube blown to imitate bird songs, chirps, or sounds. See bird call. birimbao, birimbau. See berimbau. bis zur Unhörbarkeit abnehmen (Ger.). Diminish to where the sound is almost inaudible. biscuit tin. A small metal container, with lid, made from tin. These are British, airtight cookie boxes and called for in works by Peter Maxwell Davies. bladder and strings. British name for the bumbass. Blades, James (Sep 9, 1901–May 19, 1999). Elected to the Percussive Arts Society’s Hall of Fame in 1975 in the categories of author, orchestral, and radio/television, James Blades is best known for his work with composer Benjamin Britten and for his 1970 book, Percussion Instruments and Their History. See PAS Hall of Fame. For a full biography, visit www.pas.org. Blaine, Hal (Harold Simon Belsky) (b. Feb 5, 1929). Elected to the Percussive Arts Society’s Hall of Fame in 2012 in the categories of author, band leader, composition, drum set, radio/television, and recording artist, Hal Blaine is best known for his work with the Wrecking Crew where he has recorded more chart-topping singles than any other drum set artist. See PAS Hall of Fame. For a full biography, visit www.pas.org. Blakey, Art (Oct 11, 1919–Oct 16, 1990). Elected to the Percussive Arts Society’s Hall of Fame in 2014 in the categories of band leader, composition, drum set, radio/television, and recording artist, Art Blakey is best known for his recordings and performances as the leader of his band, The Jazz Messengers. See PAS Hall of Fame. For a full biography, visit www.pas.org. blank gun. See pistol shot. Blechtrommel (Ger.). See steel drum. blinker lighting system. A series of lights, usually having two or more colors, installed inside a bass drum of a drum set. When plugged in, they randomly
flash, illuminating the head. This was popular during the first half of the 20th century when painted scenes were popular on calf skin heads for popular dance bands and orchestras. bloc chinois (Fr.). Chinese block. See temple block. bloc de bois (Fr.). See woodblock. bloc de bois cylindrique (Fr.). Cylindrical wood block. bloc de métal (Fr.). See anvil or cowbell. bloc en bois (Fr.). See woodblock. bloc métallique (Fr.). Metal block. blòcchi di légno coreano (It.). Korean wood blocks or temple blocks. blòcco di légno (It.). See woodblock. blòcco di légno Cinese (It.). Chinese wood block or temple block. blòcco di légno coreano (It.). Korean wood block or temple block. blòcco di metallo (It.). See anvil or cowbell. block chords. A performance technique whereby a chord is played on a keyboard percussion instrument using three or four mallets and all chord tones are sounded simultaneously. block roll. A performance technique whereby a chord is rolled using left hand and right hand alternating strokes on a keyboard percussion instrument while holding two mallets in each hand. blockphone. A series of four different-pitched Metblocks mounted in a row and attached to the counterhoop of a bass drum or trap rail. They are metal tubes that sound similar to wood and were manufactured in the early 20th century by Walberg & Auge. blocks. Any resonant, block-shaped instrument, usually having a hollow interior or a resonant slit cut into it. See woodblock, jam block, and temple block.
blocs a papier di verre (Fr.). See sandpaper blocks. bloque de madera (Sp.). See woodblock. bloque de metal (Sp.). See anvil or cowbell. blued steel. A high-quality, hard steel used in the manufacture of professional glockenspiels. board clapper. See slapstick. boat whistle. A hollow-vessel, tube, pipe, or mechanical effect used to imitate boat, steamship, or battleship alarms and horns. The most common design is a wooden, three-toned whistle, similar to a locomotive whistle. bob white, bob white whistle. An instrument that imitates the sound of a bob white. See bird call and traps. bodhrán (Gae.). A single-headed frame drum of Ireland. Held by a crossed handle on the back with one hand, the bodhrán is struck with a doubleended, wooden beater called a tipper by using a rotary motion of the striking arm. BOF. Acronym for Brass over Fiberglass. boing box. A single-string box guitar with a flexible neck. When plucked or struck, a glissando effect can be produced by applying and then releasing pressure on the neck. boing gongs. A gong that produces a rising-pitch bend when struck. bois (Fr.). Wood. boite en bois (Fr.). See woodblock. bomb. (1) A loud, unexpected accent played on the bass drum, commonly heard in swing and bebop style jazz drumming. (2) An imitation of an explosion. bombas (Sp.). A wooden barrel drum from Puerto Rico used in the
performance of Bomba music. They are originally barrels of rum in two sizes (buleador and subidor) and called barriles. The drums are struck with wooden sticks when accompanying Bomba dancers. bombo (Sp.). (1) Bass drum. (2) An Argentine instrument that is not quite as large as a bass drum but the size of a large tom tom. It is played by holding the instrument over the shoulder with a strap and struck with a soft mallet in one hand and a wooden stick in the other. The original Argentine name for the instrument is bombo leguero. bonang. Tuned gong of the Javanese gamelan orchestra. bones. A pair of small, slightly curved ribs of a pig, or wooden sticks shaped like the ribs. Held between the fingers, they are clicked together by rotating the hand and wrist and produce a sound similar to castanets or spoons. They were a standard instrument of the 19th-century American minstrel show. bonghi (It.). See bongo drums. bongo drums, bongos, bongoes. A pair of small, single-headed drums common to Latin American music. The drums are usually struck with the fingers and held between the legs or mounted on a stand. A single drum is called a bongo. Bongotrommel (Ger.). See bongo drums. boobams, boo bams. Tunable, single-headed drums with long shells made of bamboo or plastic, with heads of skin or plastic. The pitch is determined by both the shell length and the head tension. They are commonly played in sets of six or more, with chromatic sets being possible.
book. A hard-back book, usually performed by either audibly turning the pages or closing the book with a solid, thumping sound. See wooden book. Bookspan, Michael (1929–Sep 12, 2002). Elected to the Percussive Arts Society’s Hall of Fame in 2003 in the categories of education, orchestral, radio/television, and recording artist, Michael Bookspan is best known for his nearly 50-year career as a percussionist with the Philadelphia Orchestra. See PAS Hall of Fame. For a full biography, visit www.pas.org. BOP. Acronym for Brass over Plastic. bord (Fr.). At the edge or rim. borde (Sp.). Edge or rim. bórdo (It.). At the edge or rim. bordón (Sp.). See snares. boss. The raised center area on a gong or cymbal.
bosun’s pipe. High-pitched metal whistle used for communication aboard ship. bottle. See tuned bottles. bottle cap jingles. A jingle stick constructed using tin bottle caps as jingles. They are usually mounted in pairs along the stick with the flat tops facing each other, but can be flattened out and attached in sets stacked greater than two. bottle tree. Glass bottles of graduated sizes, each cut in half horizontally to create glass bells. They are then suspended in an overlapping fashion by a single cord. bottles, tuned. See tuned bottles. bougarabou, boucarabou, bugaragou (Af.). A single-headed wooden drum with a laced, cowhide head. It is carved from a single piece of wood in a conical shape with a short, cylindrical base. Often played by hand in sets of four, the bougarabou originates in West Africa and was traditionally played as a single drum using one stick and one hand. bouncing ball stroking. A stroke where the stick or mallet begins in an up position, is thrown toward the head or instrument while being held loosely, allowing the stick to freely return to the starting position where it is repeated as needed in a continuous down and up motion. bourdon (Fr.). See pasteboard rattle or Waldteufel. bouteillophone, bout (Fr.). See tuned bottles. bow (bowed). A notation directing the performer to draw the bow of a violin, viola, cello, or bass across the body of a percussion instrument, thereby creating a sustained tone. The most effective instruments that are commonly bowed are metal instruments, such as the musical saw, gongs, cymbals, crotales, and vibraphone. Other, less-often bowed percussion instruments include cowbells marimbas, agogo bells, and the Flex-a-tone. bowl. The body or kettle-shaped resonating shell of a timpano or smaller single-headed drum, most commonly made from copper, clay, or fiberglass.
box. A square-shaped instrument of any size made from wood, paper, metal, or plastic. Boxes are often struck with various types of sticks or mallets to create unique timbres. However, they can also be used as resonating chambers for such things as rubber bands (which are plucked) or as sounding implements by using a small, thin-sided box and rubbing the open edge over any resonating instrument (such as a cymbal, bass drum head gong, or vibraphone bar) to produce overtones. brace. See ear. brake drum. The metal housing from an automobile brake assembly, against which the brake shoes are applied. When struck by wood or metal beaters it rings with a pitched, metallic tone, similar to an anvil.
brass cymbals. See cymbals. brass drum feet. A small peg made of brass and attached to the wood counterhoop of a rope drum. Usually mounted in sets of three, they are used to protect the counterhoop when set on the ground. brass glider. A grooved, protective plate attached to wooden counterhoops of a
rope drum at each point the rope crosses over the edge. It allows the rope to easily slide at the point of contact when under tension. brass hammers. Mallets or beaters with a small brass ball on the striking end. Commonly used to play glockenspiel (orchestra bells) and bell tree. See xylophone and bell mallets. brass rope protectors. See rope drum and brass glider. brass wind chimes. See wind chimes. Bratman, Carroll (Jun 27, 1906–Jul 15, 1984). Elected to the Percussive Arts Society’s Hall of Fame in 1984 in the categories of industry, radio/television, and theater, Carroll Bratman is best known as the founder and owner of Carroll Sound Inc. See PAS Hall of Fame. For a full biography, visit www.pas.org. Brazilian bamboo shaker. See bamboo shaker. break. A measure or two of silence on drum set (and other instruments) in jazz or swing music, usually at the end of a musical phrase or chorus, where the rhythm section stops keeping time. Its purpose is to allow the next soloist to begin a solo chorus during the silence. Sometimes, breaks are used as a place for a fill. breakfast calls. Rudimental beats used to accompany melodies or assemble musicians and soldiers as part of the military Camp Duty. breaking glass effect. A machine that imitates the breaking or crashing of glass. See traps. Bremstrommeln von Autos (Ger.). Automobile brake drum. See brake drum. Brettchenklapper (Ger.). See slapstick, clappers, or bones. Breuer, Harry (Oct 24, 1901–Jan 26, 1989). Elected to the Percussive Arts Society’s Hall of Fame in 1980 in the categories of composition, keyboard percussion, and radio/television, Harry Breuer is best known as a xylophone and marimba artist and his work with the NBC studio orchestra in New York City. See PAS Hall of Fame. For a full biography, visit www.pas.org.
broken crockery in can. An assortment of broken dishes or plates that are thrown from one container to another as a theatrical sound effect. bronze bell. A large, suspended, cast bell sounded by an internal striker. bronze drum. A metal drum from Indonesia or Asia with its shell and single head made of bronze. Also known as a frog drum for the decorative frogs on some drum shells. brosse (Fr.). Wire brushes. brown wrapping paper. A firm, stiff paper used for wrapping packages. When crinkled, torn, or shaken it produces a substantial volume of unique sounds. bruit de sonnaille des troupeaux (Fr.). See cowbell. bruit de tôle (Fr.). Foil rattle. Brummeisen (Ger.). See Jew’s harp. Brummtopf (Ger.). A friction drum or lion’s roar. brushes. Originally manufactured as a fly swatter, brushes are drum beaters composed of thin lengths of metal wire that fan out in a telescoping manner from a hollow handle. Called “jazz sticks” when first introduced in the early 20th century, they became a staple sound for jazz drumming. Later developments of brushes include thicker lengths of wire; wire made of plastics, fiberglass, or wood; and handles that are non-retractable.
bubbolo (It.). Jingles or pellet bells. buben (Cze.). See drum. bubénchik (Rus.). Pellet bells or sleigh bells. Buckelgong (Ger.). Button gong. See gong. buddleia bushes. Dried branches of a buddleia bush. These are quickly waved through the air creating a rush of sound in the music of Maricio Kagel. Also known as a butterfly bush or shrub. bugarabou. See bougarabou. bula (Sp.). A small Haitian drum.
bulb horn. A metal air horn operated by squeezing a rubber bulb attached to one end of the horn. This forces air through the horn to produce a honk, and was used as a common automobile horn in the early 20th century. Various lengths of the horn produce different pitches, and chromatic sets are possible.
bull frog. An instrument that imitates the sound of a bull frog croaking. See traps. bull roarer, bullroarer, bull-roarer, bull roar. A flat, wing-shaped blade of wood, bone, or stone, with a length of cord tied to one end. Sometimes decorated, the blade is swung through the air over the player’s head causing the blade to spin, thereby creating a buzzing, whirling, or roaring sound. bumbass. A one-man-band instrument consisting of a tall stick with a pair of cymbals on top, a single string running across a small drum near the bottom, and pellet bells, bulb horns, or other small instruments attached at various points on the stick. It is played by bouncing it and plucking, bowing, or striking the string while stopping the string with the free hand against the stick to change pitches. Many variations of this instrument exist under names such as bladder fiddle, stumpf fiddle, or devil’s stick. bumbum. Central American Indian term for a musical bow. See berimbau. burano. A bamboo stick 12 to 18 inches in length, split down the center about half the length of the stick. When struck, the two halves briefly vibrate
against each other creating a buzzing sound. burglar alarm. An instrument, often electronic, that imitates the rapidly ringing bell of a burglar alarm. See traps. Burma bell. See kyeezee. Burns, Roy (b. Nov 30, 1935). Elected to the Percussive Arts Society’s Hall of Fame in 2008 in the categories of author, band leader, composition, drum set, education, industry, inventions, radio/television, and recording artist, Roy Burns is best known for his dedication to drum set education and as the founder of Aquarian Percussion. See PAS Hall of Fame. For a full biography, visit www.pas.org. Burton, Gary (b. Jan 23, 1943). Elected to the Percussive Arts Society’s Hall of Fame in 1988 in the categories of author, band leader, composition, education, keyboard percussion, and recording artist, Gary Burton is best known for his live and recorded jazz vibraphone performances and as being the head of the Berklee College of Music. See PAS Hall of Fame. For a full biography, visit www.pas.org. Burton grip. A technique of holding four mallets to facilitate chords on a keyboard percussion instrument. This grip, used by Gary Burton, creates strong muscle motion on the outside mallets in each hand, which naturally stresses the melody and bass notes.
busker drums. Inexpensive, easily portable drums, five-gallon buckets, and found instruments that are played on the sidewalk by street musicians. butt (butt end) of stick. The back end of a drum stick (opposite from the bead or tip of the stick). butt clamp. See butt plate. butt joint. A method of joining two ends of wood by gluing the squared ends directly together to create a seam. For a wooden drum shell, this type of joint is often used for separate plies of a multi-ply shell, each joint being offset from the others within the entire shell circumference.
butt plate. A device attached to the shell of a drum that holds the opposite end of the snares from the snare strainer. Originally, a butt plate was merely a length of thick leather with holes punched for each strand of the gut snares to be looped back to the strainer and held between the shell and counterhoop. Then, a single metal stud was attached to the shell with all strands of the gut looped back. Eventually, a metal bracket with a screwed clamping system was developed, and in advanced tuning mechanisms the butt plate integrates a fine-tuning system for each individual snare.
buttibu (It.). See friction drum. button gong. A gong with a raised boss in the center that allows it to be tuned to a specific pitch. They are common in Indonesian gamelan orchestras, often mounted in chromatic sets, and sometimes appear with specific pitches in compositions such as Puccini’s Turandot.
buttori (Br. Ind.). A rattle made of deer hooves. buzz. (1) An onomatopoeic stroke having quick multiple bounces. (2) A sound effect or trap that imitates a bee buzz. buzz marimba. See Mexican marimba. buzz roll. See multiple-bounce roll; closed roll; rudiments; and appendix N, “PAS 40 International Drum Rudiments.” buzz-a-phone. A chromatic instrument constructed as a series of elongated, wooden boxes having a resonating tongue on an open end and a vibrating, buzzing membrane on the other, closed end. It sounds similar to a Mexican buzz marimba. buzzer. Mechanical device used to imitate a door buzzer. See doorbell and traps.
C cabaca (Sp.). See cabasa. cabaquinha (Por.). Latin American frame drum with a square shape. cabasa. A gourd rattle from Latin America and Brazil. This instrument has a handle attached to a notched gourd that is surrounded by a net of beads. When struck, shaken, or turned, the beads rattle against the gourd. The modern instrument is the afuchê cabasa, built from wood and metal. See shekere. cabaza (It.). See cabasa. cable snares. Woven or twisted wire snares made from metal. cable timpani. Hand-tuned timpani operated by a cable mechanism attached to all lugs, which turn simultaneously. See Anheier. cable-tuned. Adjective for drums, usually timpani, that are tuned by a cable mechanism attached to all lugs. caccavella (It.). See friction drum. cacophone. A music box with multiple mechanisms, each sounding a different melody. When opened, it creates a cacophony of sound in different keys and tempos.
cadacada (SA). Shell castanets from Chile. cadenas (Sp.). See chains. cadence. A musical composition for marching percussion. It is usually structured in eight-measure phrases and used to move either a marching band or soldiers from one point to another. This can be soldiers on the march for parade purposes or field maneuvers, or bands and drum corps moving from formation to formation during a performance, for a parade, or general movements for assembly purposes. cadre du tambour (Fr.). See drum shell. Cage, John (Sep 5, 1912–Aug 12, 1992). Elected to the Percussive Arts Society’s Hall of Fame in 1982 in the category of composition, John Cage is best known in the percussion field as a groundbreaking composer for solo percussion and percussion ensemble literature. See PAS Hall of Fame. For a full biography, visit www.pas.org. caire. A rattle shaped like a cross.
caisse (Fr.). (1) See drum. (2) A direction to play on the shell of the drum. caisse, sur le (Fr.). On the shell of the drum. caisse à timbre (Fr.). See snare drum. caisse claire (Fr.). Snare drum, usually a thin depth, measuring less than eight inches. caisse claire détimbrée (Fr.). Snare drum with snares off. caisse claire grande taille (Fr.). Snare drum, large size. caisse claire petite taille (Fr.). Snare drum, small size. caisse plate (Fr.). Flat drum (piccolo snare drum). caisse roulante (Fr.). A drum without snares that is larger than a caisse claire. See tenor drum. caisse roulante avec cordes (Fr.). A field drum, parade drum, or marching snare. caisse sourde (Fr.). See tom tom. caisse soured (Fr.). Tenor drum or tom tom, usually deeper than caisse roulante. caixa (Por.). This is usually a shallow-depth snare drum. caixa clara (Por.). See snare drum. caixa de camphana (Por.). See field drum and parade drum. caixa de rufo (Por.). See tenor drum. caixeta (Por.). See woodblock. caixinha (Por.). Brazilian box rattle. caja (Sp.). In Latin America or South America, this is usually a drum with two
heads and snares. In Central America, this is the largest of the set of drums called joca, a conga drum with a single head. It sometimes refers to a tom tom or the shell of a drum depending on the context. caja (Por.). A small frame drum without jingles. caja china (Sp.). See Chinese wood blocks. caja clara (Sp.). See snare drum. caja indigena (Sp.). Indigenous drum, usually from native tribes in Latin and South America. caja penarandina (Sp.). Very large snare drum. caja rodante (Sp.). See tenor drum. cajón (Sp.). A Peruvian box instrument. Made of thin plywood in a rectangular shape, a cajón has a sound hole cut in one side with a snare mounted on one interior surface to create a buzzing sound when the box is struck. The instrument is typically performed by sitting atop the box and striking the different sides with hands. In recent years, the instrument has appeared in a wide variety of sizes and shapes and can now be performed with a pedal for a bass cajón or have accessory instruments, such as a hi-hat, mounted near it and thereby function in a fashion similar to a drum set. cajon harmonico (Sp.). See resonators. calabash, calabash gourd. See gourd. calabaza. See cabasa. Calato, Joe (b. Mar 20, 1921). Elected to the Percussive Arts Society’s Hall of Fame in 2001 in the categories of industry and inventions, Joe Calato, founder of Regaltip, is best known for his innovative designs for drum sticks, one of which was the first use of a nylon tip on a wood drum stick. See PAS Hall of Fame. For a full biography, visit www.pas.org. calebasse. See cabasa.
calf bawl. An instrument that imitates the sound of a calf. This is often the type of child’s toy with an internal, weighted diaphragm that makes a single bawl when turned upside down. See traps. calf skin head. A drum head made from the prepared skin of a calf. call and response. A musical structure that alternates a short phrase of music between a leader and the remainder of the ensemble. In drumming, this form is used by performers in African or other world music, as well as for improvisations in Western popular music, such as jazz or rock, during solo sections. calottes (Fr.). Small, hemispherical bells. calung renteng. A bamboo tube xylophone from Micronesia and Java. Calypsotrommel (Ger.). See steel drum. cambia in (It.). Change to. A direction to change pitches, usually on timpani. cambiare l’accordature (It.). To change the tuning or retune. camel bells. Cylindrical- or conical-shaped bells, graduated in size and mounted within one another on a cord or string. There can be any number of bells with various-sized graduations. Camel bells are sounded by either shaking them or striking them with a stick.
camesa. See kamesa. camp (It.). Abbreviation for campanelli (glockenspiel or orchestra bells). Camp Duty. Standard drum beats, sometimes played along with fifes or bugles, that mark the time of day and events while soldiers are in camp. These beats, most of which also have melodies, form the basis for the use of rudiments and rudimental solos. The standard beats include “Drummers Call,” “Reveille,” “The General,” “Assembly,” “The March,” “Adjutant’s Call,” “The Troop,” “The Retreat,” “To Arms,” and “The Tattoo.” campainha (Por.). See bell. campana (It., Sp.). See bell and chime. campana da preghiera (It.). See prayer bell, also dobači. campana d’allarme (It.). See alarm bell. campana de mano (Sp.). See hand bell. campana di legno (It.). See woodblock. campana grave (It.). Large bell. This is usually a church bell with a low pitch. campana in lastra di metallo (It.). See bell plate. campana tubolari (It.). See tubular bells and chimes. campanaàccio (It.). See cowbell. campanaàccio di metallo (It.). Metal bell (cowbell). campanas tubulare (Sp.). See chimes. campane (It.). See bells and chimes. campane da gregge (It.). See cowbell. campane da pastore (It.). See herd bells.
campane sole (It.). Solo chimes. campane tubolare (It.). Tubular bells. See chimes. campanèlla (It.). A single small bell or glockenspiel note. campanelle (It.). See glockenspiel. campanelle de vacca (It.). See cowbell. campanelli (It.). See glockenspiel. campanelli a tastièra (It.). See keyed glockenspiel. campanelli giapponese (It.). A pitched metallophone with resonators. This instrument is found in operas by Puccini to represent various temple bells. campanello (It.). See hand bell. campanello d’allarme (It.). See alarm bell and ship’s bell. campani (It.). See chimes. campanilla (It.). See hand bell. campano (It.). See cowbell. campanólogo (It.). See chimes and bells. caña (Sp.). Cane. This is usually a reference to rattan handles. canary bird, canary call. An instrument that imitates the sound of a canary’s call. It is a water-filled whistle that warbles the same as a nightingale. Also called songster. See traps. canna (It.). Cane or rattan. canne (Fr.). Cane or rattan. cannon shot. (1) Either the sound of an actual cannon firing, or an instrument or recording that imitates the sound. In lieu of a cannon, the most common
technique is to play a concert bass drum very loudly in the very center with a heavy mallet or beater. (2) The technique of playing the center of a concert bass drum very loudly. cannóne (It.). See cannon shot. canon (Fr.). See cannon shot and gun. cañón (Sp.). See cannon shot. Canterbury Marimba. Model name for the first top-line instruments manufactured by Clair Omar Musser’s namesake company beginning in 1950. It featured a double row of ornamental resonators on the front and humidity adjustments for the tuning of the resonators at the top of the art deco frame. canusao (Por.). See snare drum. canvas cover. A protective cover, cut to shape for large percussion instruments and drums. A canvas cover is primarily designed to keep dust and sunlight from instruments when not being used. Naugahyde and vinyl covers gradually replaced canvas as the choice material in the last half century. caoutchouc (Fr.). Rubber. capello cinese (It.). See Turkish crescent. capoc (Fr.). Hard fiber or hard felt. cappel cinese (It.). See Turkish crescent. caqueltrun (SA). South American Indian word for drum. car brake drum. See brake drum. car horn. See auto horn and bulb horn. cara (SA). Colombian word for maracas. cara anterior (Sp.). See batter head.
cara con bordones (Sp.). See snare head. caracacha (Por.). Brazilian scraper or rattle. caracaha (SA). Güiro-type instrument. caracalho (Por.). Brazilian güiro. caracaxá (Por.). Brazilian maraca-type shaker. caramba (CA). Central American Indian term for a musical bow. caraxa (SA). South American scraper. carbon steel. A high-strength, heat-treated steel used in the manufacture of quality glockenspiel bars and some percussion hardware parts. cardboard tube drums. Small diameter drums made from elongated cardboard tubes. Performed by the choir in Momente by Stockhausen. Caribbean steel drums. See steel drums. cariglione (It.). See carillon bells and chimes. carillon (It.). See glockenspiel and orchestra bells. carillon bells. Steeple- or tower-mounted bells operated by an electronic or manual keyboard for the performance of outdoor popular, nationalistic, or religious music. Full chromatic ranges of several octaves are possible. Carillon bells are typically found on civic buildings, college campuses, and churches. carimba. See caramba. carimbo (SA). Afro-Brazilian drum. carioca. A double maraca, with one pair mounted at each end of a short handle. carnival rooster. See squawker. carraca (Sp.). See ratchet and noisemaker.
carraca (SA). Colombian güiro. carrasca (Sp., SA). (1) Spanish term for Mexican pellet bells. (2) Colombian güiro. carretilla (Sp.). A roll of five notes on castanets performed by four notes with the right hand (one by each finger) and the last note with the left hand castanets. carrier. A harness used to carry drums, bells, xylophones, or other percussion instruments when marching. For modern marching percussion instruments, these are highly specialized for each brand and make of drum. Designed for extended comfort, carriers often have several individual adjustments in order to perfectly fit the player and instrument. For more traditional instruments, such as rope drums, the carrier systems are more simplistic—often just a carry sling and carry hook. carrilhão (Por.). See glockenspiel and orchestra bells. carry hook. A hook or ring used to attach a leather or web sling to a rope or parade drum for marching. The type of carry hooks vary depending on the construction of the drums.
carry sling. An adjustable strap made of leather or cotton webbing that hangs on a drummer’s neck or over one shoulder. It has a clip or hook to attach it to a marching or parade drum.
Carry-All Bass Drum. A bass drum from the early 20th century that split in half in order to store all other drums, traps, and hardware for the drum outfit (drum set) inside the drum for ease of transport. carrying case. A case designed with a handle for ease of transporting an instrument. carrying strap. A strap that attaches to an instrument allowing the performer to carry the instrument while walking or marching. It may or may not be actually played while being carried. carta sabbiata (It.). See sandpaper and sandpaper blocks.
carta vetrata (It.). See sandpaper and sandpaper blocks. cartage. A fee paid to musicians for transporting their instrument (s) to a performance venue or gig. cascabeles (CA). Mexican Indian pellet bells, made of metal or clay. cascabels (Sp.). See pellet bells, jingle bells, and sleigh bells. cáscara (Sp.). (1) See shell. (2) The name of the rhythmic pattern played on the shell of a timbale for salsa music. cascavels (Sp.). See pellet bells, jingle bells, and sleigh bells. case. A protective box or bag used to safely store or transport percussion instruments, hardware, sticks, mallets, and beaters. Commonly made of fiber board or leather during most of the 20th century, the advent of inexpensive plastics and vinyl, along with the growth of the quality and types of percussion instruments, led the way to highly individual cases designed for many specific instruments. The designs range from inexpensive storage cases to highly protective cases designed for performance touring and airline freight transport. See fibre case and flight case. casing. The outer box of a lug tension system. cassa (It.). See drum. cassa chiara (It.). See snare drum. cassa del tamburo (It.). See drum shell. cassa di legno (It.). See woodblock. cassa di metallo (It.). Metal block. See cowbell. cassa grande (It.). See bass drum. cassa rullante (It.). See tenor drum. cassa sola (It.). The bass drum is to be played by itself, without the cymbal doubling the part.
cassa sordo (It.). See tenor drum and tom tom, usually deeper than cassa rullante. casse chiare (It.). See snare drum. casse di legno (It.). See woodblock. cassettina (It.). See woodblock. cassettina di legno (It.). See woodblock. cast aluminum, aluminum. Aluminum that is melted, poured into a mold, allowed to dry, and then broken out of the mold. Cast aluminum is used for many drum parts with intricate design requiring strength but light weight, such as marching drum counterhoops. Die casting creates a part from a permanent mold, ensuring each part made is identical to others made from the same mold, and therefore interchangeable. cast bell. A bell, usually made of brass, that is cast in a mold. cast footboard. A footboard, usually made of aluminum, that is cast in a mold. cast lug casings. Lug casings cast from melted metal, as opposed to being stamped, pressed, or rolled into shape. castagnetta (It.). See castanets. Though singular, each castanet is a pair, making the designation unimportant in most circumstances. castagnette (It.). See castanets. castagnette di fèrro (It.). Iron or metal castanets. Finger cymbals are most often used. castagnette di metallo (It.). See metal castanets. castagnettes (Fr.). See castanets. castagnettes à manche (Fr.). See paddle castanets. castagnettes de bois (Fr.). See wood castanets.
castagnettes de fer (Fr.). Iron or metal castanets. Finger cymbals are typically used, and they are commonly mounted. castagnettes de métal (Fr.). See metal castanets. castagnettes en bois et en fer (Fr.). Wood and metal castanets. castagnettes sur socle (Fr.). See castanet machine. castagnetti (It.). See castanets. Castajing. A clapper-type instrument composed of three pairs of jingles and one pair of castanets mounted in a triangular arrangement on a metal handle in such a way that all sound at the same time with a single stroke of the instrument. Manufactured by Walberg & Auge. castanet machine. This is a mechanical device that allows two pairs of castanets to be mounted in such a way that they can be struck with hands or mallets without picking them up. Also known as machine castanets. castañeta (Sp.). See castanets. castanets. An instrument of Spanish origin consisting of two concave shells of carved hardwood attached by a narrow cord at one side. Traditionally, the cord is mounted around both thumbs, one for each pair of castanets. This allows a player to click the instruments together in rapid motion using either fingers or thumbs. Modern orchestral castanets come in four basic mounting systems, in addition to hand castanets: (1) paddle castanets, where one to three pairs are mounted on a paddle, the paddle running between the halves of a pair of castanets; (2) handle castanets, where the end of each castanet is loosely tensioned and mounted to a handle, allowing the castanets to strike each other when played against the knee or a padded surface; (3) machine castanets, where each pair of castanets is mounted under tension in an open position allowing a player to strike the castanets together using fingers, hand, or a mallet; and (4) mounted handle castanets, where a holder is constructed to hold handle castanets in a mounted position, which allows them to be played by striking them with fingers, hand, or mallets. Castanets can also be mounted in nontraditional ways, such as two pairs of castanets, one at each end of a single handle, or double-ended castanets, and can be made of metal, plastic, Bakelite, fiberglass, pressed canvas, composite fiber, or any
other hard material for various timbres. Spanish Grenadilla wood is the wood of choice for authentic sounding instruments. Fr. castagnettes; Ger. Kastagnetten; It. nacchere; Sp. castañuelas.
castanhetas (Por.). See castanets. castañuelas (Sp.). See castanets. castañuelas de metal (Sp.). Metal castanets. castenhetas (Por.). See castanets. casual date. An informal performance or gig, often playing background music to a social event with a pick-up group of musicians. cat meow. An instrument that imitates the meow of a cat. See traps. catacá (Por.). A Brazilian scraper that consists of two wood blocks, one with grooves or ridges, the other plain. When rubbed together they sound similar to a réco-réco. catena, catene (It.). See chains. cathedral bell. A large, deep, cast bronze bell found in the steeples of churches
and cathedrals. Chimes are designed to imitate cathedral bells in orchestral scores when pitched, and a bell plate will imitate a single bell when no specific pitch is designated. cathedral bell imitation. Any instrument that imitates the deep bell-tone of a cathedral bell. See traps and bell plate. cathedral chimes. Deagan and other manufacturers’ early name for chimes. Chimes were originally manufactured to imitate the cast bells of cathedrals, which, due to their weight, are not portable enough to be easily used in concert settings, especially when several pitches were required. cathedral chimes imitation. See cathedral bell imitation. catuba (It.). (1) Bass drum. (2) Acronym for Cassa Turkish Banda in a Rossini opera, interpreted to be any combination of bass drum, cymbals, and triangle at the conductor’s preference. catuguinaru. Earth drum of the Catuguinaru Indians. cavalry horse hoofs, hooves. An instrument that imitates both the sound of horse hoofs and cavalry spurs. See horse hooves and traps. cavalry machine. A mechanical device that simultaneously imitates the sound of many horses, spurs, and sabers. See traps. cavalry timpani. Small timpani that are mounted in pairs on horseback and draped with the colors of a regiment. The drums are used to give signal commands to the troops as well as lead the formation in parades. caxambú (Por.). (1) Large Brazilian drum having a single head and made from a hollow log. (2) A small drum or tom tom that is held between the knees and struck with hands and stick simultaneously. (3) In the music of VillaLobos, a shaker composed of a bottle filled with gravel. caxixi (Por.). Brazilian rattle or shaker constructed in the form of a small wicker basket.
celesta, celeste. A steel-bar metallophone operated by a piano-action keyboard. It has a five-octave range and transposes up one octave. Celestette. Trademark name by Jenco Manufacturing Company of a portable, table-top celesta with a range of three octaves.
cellophane. A thin, transparent, waterproof product made of viscose. Cellophane is similar to paper and is used to make crinkling or fluttering sounds. Celtic bodhrán. See bodhrán. cencerro (Sp.). Spanish cowbell. The cencerro usually has a more tubular shape than Afro-Cuban cowbells. center bead. A raised rib that runs around the center of a metal drum shell. A center bead is used both as a reinforcing process, and sometimes as the joint for two halves of the shell. center brace, bracket, or support. An exterior center post on single-tension rod drums used to maintain the location and spacing of the tension rods around the drum shell. The center brace also prevents a rod from buckling and from falling off if the tension becomes too loose. On larger drums, there are sometimes two support posts within equal distance from the center to
each hoop. centre (Fr.). Center (of head, bar, etc.). ceppi cinése (It.). Chinese block. See temple blocks. ceppi di carta vetrata (It.). See sandpaper blocks. cérchio (It.). See counterhoop. cérchio della pèlle (It.). See flesh hoop. cercle (Fr.). See counterhoop and rim. Ces (Ger.). C♭. chain timpani. See chain-tuned timpani. chain-driven pedal. A foot pedal, usually for bass drum, with a chain link connection between the footboard and the beater cam. This type of construction is more durable than a leather strap and more flexible than a solid metal strap. chaînes (Fr.). See chains. chains. Lengths of iron chain that are rattled or shaken, often in a metal container such as a washtub. They can be of specified various weights or sizes, such as heavy, medium, and light. Fr. la chaîne; Ger. die Kettenrassel; It. la catena. chain-tuned timpani. Timpani with a sprocket atop each tension rod, all of which are connected by a single chain. By turning any one rod, all others turn, creating an efficient method of changing the pitch by hand. chamber bowls. Pyrex jars that are cut and set upside down. When struck, chamber bowls produce various combinations of definite and indefinite pitches. Developed by Harry Partch. champagne pop. An imitation effect usually executed with a pop gun. chang. Tibetan, pitched gongs that have a long sustaining quality, usually tuned
to a Tibetan musical scale. changez en (Fr.). Change to. A direction to change pitches, usually on timpani. changgo, chang-go. A Korean hourglass-shaped drum with laced, double heads. Its pitch is changed by squeezing the lacings while striking the drum with a single beater. chap. Hand cymbals from Thailand used in the pī phāt ensemble. When struck together, they can be allowed to ring or can create a suction effect producing a wa-wa sound. Also known as wa-wa cymbals. chapa de trueno (Sp.). See thunder sheet. chapeau chinois (Fr.). See Turkish crescent. Chapin, Jim (Jul 23, 1919–Jul 4, 2009). Elected to the Percussive Arts Society’s Hall of Fame in 1995 in the categories of author, composition, drum set, education, and recording artist, Jim Chapin is best known for his jazz drumming book on coordinated independence titled Advanced Techniques for the Modern Drummer, first published in 1948. See PAS Hall of Fame. For a full biography, visit www.pas.org. charleo (CA). A buzzing sound created by the tela, a thin membrane that is attached by beeswax onto natural gourd resonators. See buzz marimba. Charleston. See hi-hat. Charleston Beckenmaschine (Ger.). Charleston cymbal machine. See hi-hat. Charleston cymbals. See hi-hat. Charleston pedal. See Low Boy. Charleston sock cymbal. See hi-hat. Charlestonmaschine (Ger.). Charleston machine. See hi-hat. chart reading. The interpretation of drum set parts written with standard drum set notation. Primarily used in jazz, orchestra, and studio drumming. See
appendix L, “Notation for Drum Set” by Norman Weinberg. cheese. A hybrid rudiment composed of a flammed double stroke. 1RR or rLL. See rudiments and appendix N, “PAS 40 International Drum Rudiments.” cheese box. A rectangular, wooden box commonly found in the first half of the 20th century. Cheese was stored and sold in these containers. A low woodblock is a good substitute for this effect. cheese-paradiddles. A hybrid rudiment composed of a flammed double stroke (cheese) on the first note of a paradiddle. 1RR L R R or rLL R L R. See rudiments and appendix N, “PAS 40 International Drum Rudiments.” chekeré (Af.). See shekere. Chenoweth, Vida (b. 1929). Elected to the Percussive Arts Society’s Hall of Fame in 1994 in the categories of author, composition, education, keyboard percussion, and recording artist, Vida Chenoweth is best known as a performer who established the marimba as a modern concert instrument through hundreds of recitals, commissions, and the first performance of a marimba concerto at Carnegie Hall. See PAS Hall of Fame. For a full biography, visit www.pas.org. chenrara (SA). Andean rattle. chequere (SA). Brazilian metal rattle. chiaro (It.). Clearly, usually meaning to play clearly. Chicago Drummers’ Club. An organization of Chicago drummers during the first two decades of the 20th century. Dues provided a locked cabinet in over 400 theaters or music halls that contained a bass drum, preventing members from having to move or rent a bass drum to the venue during a time when travel was difficult with such a large instrument. chicken clucker. An instrument that imitates the sound of a clucking poultry hen. See traps. chil-chil (Sp.). Small bell (Nicaragua) or maraca (Ecuador and Peru).
chime. A bell-like sound produced either from a metal tube, metal plate, or metal bar. chime damper box. A box mechanism installed midway up the frame on a set of chimes that contains a movable, padded plank of wood. This damper is pedal operated to stop the sound of the chimes. chime mallet. A hammer-shaped mallet with a wood handle and a rolled, rawhide head. One side of the head is often covered with moleskin for a softer attack sound. chimes. An idiophone consisting of a series of harmonically tuned metal tubes, capped on the top and mounted vertically on a frame in a keyboard fashion. The instrument is non-transposing and has a standard range of C4 to F5. Originally called cathedral chimes because they were designed to imitate cathedral bells, they are also known as tubular chimes. First designs of the instrument had the tubes arranged in a single, chromatic row with naturals finished in nickel and accidentals finished in copper. chimta. A metal jingle stick from India composed of two metal tongs connected at one end. Each tong is fitted with a row of disc jingles for its entire length. China Boy cymbal. Zildjian brand name for a Turkish-style cymbal with a bent-up edge similar to designs of authentic Chinese cymbals but having a smaller bell. Recent modifications to the design have included the distinctive Chinese bell shape.
China cymbal. See Chinese cymbal.
chinchin. Guatemalan term for maracas. Chinese bell tree. See bell tree. Chinese block. See woodblock and temple block. Chinese bongo. A single-headed, circular frame drum. The tacked head is played by one hand while the drum is held in the other. Chinese Confucian bells. Hemispheric, tuned temple bells (bowls), often arranged in groups of three, five, seven or nine, but which can be mounted in chromatic sets of several octaves range. See dharma bells. Chinese crash cymbals. Chinese cymbals with a bent back edge, held one in each hand and clashed together. The bend near the edge allows the cymbals to also be pressed or rubbed together for a variety of harsh timbres. Chinese crescent. See Turkish crescent. Chinese cymbal. A cymbal manufactured in China with a distinctive upturned edge and a squared bell. The sound spreads easily, similar to a tam-tam. Fr. cymbale chi-noise; Ger. Chinesische Becken; It. plato cinese.
Chinese drum. See Chinese tom tom. Chinese gong. Small bronze gongs measuring 14 to 16 inches, usually having a deep, bent-back edge or rim, and no boss (raised center). Often used for early jazz drum sets. Chinese hand drum. See monkey drum.
Chinese kettle. A very large, double-headed barrel drum with tacked pig skins, usually played on a horizontal stand with two sticks. See odaiko. Chinese opera gong. Small bronze or brass gong with a short, bent-back edge and a raised flat center. These instruments have a distinctive glissando effect that either raises or lowers in pitch when struck with a mallet. Chinese paper drum. A monkey drum with paper heads, rather than skin heads. Chinese pavilion. See Turkish crescent. Chinese piatti cymbals. See Chinese crash cymbals. Chinese sneeze cymbal. A Chinese cymbal with rivets. See sizzle cymbal. Chinese tam tam. A large brass or bronze flat tam-tam measuring 24 to 36 inches, with a bent-back edge. It has indefinite pitch and a wide spread of overtones.
Chinese temple blocks. See temple blocks. Chinese thumb piano. A small lamellaphone. Rather than the usual sounding box, these are mounted on a flat, resonant board. See kalimba. Chinese tom tom. A small, double-headed barrel drum with tacked pig skin heads. The heads are often painted with elaborate dragons. These were extensively used for early jazz drum outfits and were precursors to the American tom tom. Larger drums that measure up to 24 inches are possible using the same construction.
Chinese tree bell. See Chinese Confucian bells. Chinese white leather drum. See Chinese tom tom.
Chinese winter gongs. Pitched brass gongs used in Takemitsu’s From Me Flows What You Call Time. Similar to Thai gongs, Chinese winter gongs are heavier and the surface shape is slightly different, particularly in the central area surrounding the button. The tone is similar to that of Thai gongs, with a focused fundamental pitch, but with a richer array of overtones, and a slightly longer duration. Chinese wood blocks. For early jazz, these are wood-blocks. For music after about 1930, or when more than two sizes are indicated, these are temple blocks. In early jazz, woodblocks were often used as substitutes for clogs or horse hooves. Chinesische Blocke (Ger.). See Chinese wood blocks, woodblock, and temple blocks. Chinesische Tom Tom (Ger.). See Chinese tom tom. Chinesische Zimbel (Ger.). See Chinese cymbal. ching. Bronze finger cymbals from Thailand. These are played with both ringing and dampened strokes when part of the pī phāt ensemble. ching-a-ring, ching ring. A flat, metal hoop to which is attached eight sets of tambourine jingles and then mounted to the rod of a hi-hat above the clutch. Once mounted, the ching-a-ring imitates the sound of a tambourine each time the hi-hat is operated by the foot.
ching-ching. Small, heavy, brass cymbals measuring about eight inches in diameter with a large dome used in pairs by gamelan orchestras. Also used by Britten in Prince of the Pagodas and Death in Venice. chocalho, chocola, chocolo (Por.). A Brazilian, metal shaker shaped like a diamond or tube. Also called ganza. Fr. chocaoho-tubo; Ger. Schlittelrorh or Chocolo; It. tubo; Sp. chocalho. choke. To quickly muffle after striking an instrument, stopping the sound completely. This direction is often found on cymbal music. choke cymbal. A small-diameter, thin cymbal designed to quickly speak and then be muffled. Used extensively in early jazz music, this is also known as a splash cymbal. choke cymbals. See hi-hat. choquées (abbr. choq.) (Fr.). Crashed together. chordophones. Instruments that produce their sound by a vibrating chord or string. Common percussion instruments include the berimbau, zither, and réco réco.
chow iron. A large, iron triangle, originally used as a dinner call for cowboys in the American West. Christian, Bobby (1911–Dec 31, 1991). Elected to the Percussive Arts Society’s Hall of Fame in 1989 in the categories of author, composition, education, orchestral, radio/television, and total percussion, Bobby Christian is best known for his total percussion approach as a performer in Hollywood studios, Chicago’s NBC Orchestra, the Chicago Symphony Orchestra, Dick Schory’s Percussion Pops Orchestra, and Toscannini’s Symphony of the Air. See PAS Hall of Fame. For a full biography, visit www.pas.org. chromatic cowbells. A set of pitched cowbells mounted in a keyboard arrangement and having a one or more octave range. These were common novelty instruments during the early 20th century for use on the vaudeville stage, radio shows, and other popular performance venues. chromatic wood blocks. A set of pitched woodblocks mounted in a keyboard arrangement and having a one or more octave range. chromium. Element used in the electroplating process for metals to create a chrome finish. This is extensively used for metal drum shells and hardware. Chuan Bo. Sichuan Opera cymbal with a large bell and a diameter of about 16 inches. The timbre is dry with little resonance when played as a pair crashed together. chucalho. See chocalho. chuchas, chucho (Sp.). See maracas. chulado (Sp.). See rattle. chung. See Chinese Confucian bells. church bell. A large, cast bell of bronze or steel with an internal, metal clapper. Church bells can have either a definite or an indefinite pitch. Chimes are used to imitate church bells in musical scores. church bell imitation. An instrument designed to emulate a church bell. This is
usually a single tubular chime, or a bell plate. churui (Sp.). See rattle. cimbali (It.). See cymbals. cimbali antichi (It.). See antique cymbals. cimbalillos digitales (It.). See finger cymbals. cimbalini (It.). See antique cymbals and finger cymbals. címbalo (Sp.). See cymbal. cìmbalo (It.). See cymbal. címbalo antiguo (Sp.). See antique cymbal. címbalo suspenso (Sp.). See suspended cymbal. cimbalom. A hammered dulcimer, this is a large chordophone built in a trapezoidal box and mounted on legs. It is struck with padded, wooden hammers. This instrument originates from Hungary, exists in smaller folk sizes, and can be found in the music of Kodály, Bartók, Liszt, and Stravinsky. címbalos dedos (Sp.). See finger cymbals. Cinellen (Ger.). See cymbals. cinelli (It.). See cymbal and suspended cymbal. cinelli dito (It.). See finger cymbals. Cirone, Anthony J. (b. Nov 8, 1941). Elected to the Percussive Arts Society’s Hall of Fame in 2007 in the categories of author, composition, education, orchestral, and publisher, Anthony Cirone is best known for his 36-year position as a percussionist with the San Francisco Symphony and his Portraits in Rhythm method books. See PAS Hall of Fame. For a full biography, visit www.pas.org.
Cis (Ger.). C#. Civil War drum. A contract drum manufactured for use by the United States Army during the American Civil War (1861–1865). These drums are wooden rope drums emblazoned with an emblem having a bald eagle grasping arrows and olive branches with a shield over its breast, similar to the Great Seal of the United States. clacson (It.). See klaxon. clam shell shakers. See harmony rattle. clanger. See cymbal striker. clapper. A hinged, metal, or wood beater attached to the inside of a bell. clappers. Two lengths of wood, metal, or plastic hinged or not hinged together that are struck together. claquebois (Fr.). See xylophone. claquer, claquette, claq (Fr.). See slapstick, clapper, and rattle. clarine (Fr.). A small herd bell used for small animals, such as a goat. clash cymbals. See crash cymbals. clashed cymbals. See crash cymbals. clave (Sp.). A Latin American rhythmic pulse with African origins that serves as a unifying beat and basis for most styles of Latin dance music. It is organized in a two-measure pattern of either two and three notes over two measures or three and two notes over two measures. claves (Sp.). Two hardwood dowels, usually rosewood, that are struck together. In Latin American music, claves play the fundamental keystone beat called clave. claviers (Fr.). Keyboard instruments, such as a piano, harpsichord, or clavichord. claw, claw hooks. A connecting bracket, shaped like a claw, that goes between a
tension rod and the counterhoop or a rope and counterhoop. Claw hooks attach over the counterhoop and have an opening for either the tension rod or the rope.
claxon. See klaxon. clay bongos. Bongos with shells made from clay. clay rattles. Rattles or maracas made from clay. clay shaker bells. Mexican shakers made from clay with internal clay pellets. clear a head. The final tuning process for a timpani head whereby all tension rods are tuned to the exact same pitch, resulting in a clearly audible series of in-tune harmonics. clicker. See cricket call. clink. To strike two glasses together, as when giving a toast during a meal. clip. Any type of holder that either attaches an object to hardware, or marks a spot on hardware, often locking the hardware in place and preventing it from moving. The most common clip is used to hold and suspend a triangle. Clips can be tightened by thumb screws, bolts, or drum keys, or held in place with some type of spring tension. cliquette (Fr.). See clappers. cloche (Fr.). See bell and chime. cloche à vache, cloche de vache (Fr.). See cowbell. cloche en lame de métal (Fr.). See bell plate and metal plate. cloches (Fr.). See chimes. cloches plaque (Fr.). See bell plates. cloches tubulaire (Fr.). See chimes. clochette (Fr.). Small bell or hand bell. clochettes (Fr.). See glockenspiel. clochettes à mains (Fr.). See hand bells.
clochettes de bambous (Fr.). Bamboo wind chimes. clochettes de coquillages (Fr.). Shell wind chimes. clochettes de verre (Fr.). Glass wind chimes. clock (winding). A mechanical device that imitates the winding of a clock. See traps. clock chimes. The internal metal chimes of a clock. Made from either wound springs or solid rods, clock chimes are removed from the clock, mounted on a resonating box, and struck with a hard mallet or beater.
clock tick. A mechanical device that imitates the ticking of a clock. This sound can also be imitated by playing on two different-sized woodblocks. See traps. clog, clogs. A term used to describe tap dancing. For theater productions, the sound of clogs is often imitated by the pit percussionist who plays the tap rhythms on mallets with wooden, hammer-shaped heads, called clog mallets
or hammers. clog box. A small, hardwood box on which clog mallets are struck. clog mallets. Wooden, hammer-shaped mallets that imitate the sound of tap dancing. Often, the mallets have a jingle mounted to one side of the head. They are played against a drum head, wood shell of a drum, the stage floor, the pit floor, a hardwood or slate board, or a wood clog box. closed hi-hat. The position of a hi-hat when the cymbals are pressed together by the foot. The instrument is then struck with sticks for a staccato sound of the cymbals. closed roll. A roll that is played at or near full speed, sounding as a sustained sound for the length of the roll. When practicing, rolls are begun at a slow, or open speed, gradually sped up to a fast, or closed speed, and then gradually slowed down to the original slow, or open, speed. See rudiments and appendix N, “PAS 40 International Drum Rudiments.” closed stroke. A stroke by the hand that remains on the head of the drum after striking it and produces a sound with no ring. Opposite of open stroke. cloutée (Fr.). See sizzle cymbal. cluster. A marking to designate the performance of a tone cluster between two indicated pitches. cluster bar, cluster mallet. A mallet with an extended horizontal beater head capable of sounding three or more bars on a keyboard percussion instrument. They often extend as much as an octave and are built by performers as required for a specific piece or effect as needed. cluster tone. See tone cluster. clutch. A mechanical device that allows a catch and release motion on a moving part of hardware. The most common clutch devices are for the top cymbal of a hi-hat and for a timpani pedal. COB. Acronym for Copper over Brass.
Cobb, Jimmy (b. Jan 20, 1929). Elected to the Percussive Arts Society’s Hall of Fame in 2011 in the categories of band leader, composition, drum set, education, and recording artist, Jimmy Cobb is best known as a jazz drummer who has performed with almost all of the giants in jazz and for his performance on the album Kind of Blue with Miles Davis. See PAS Hall of Fame. For a full biography, visit www.pas.org. Cobham, Billy (b. May 16, 1944). Elected to the Percussive Arts Society’s Hall of Fame in 2006 in the categories of band leader, composition, drum set, education, radio/television, recording artist, and sound engineer, Billy Cobham is best known for his creative approach to the drum set as being a leading musical instrument in the role of compositions with powerful, odd meter funk, rock, and jazz fusion, such as that on his Mahavishnu Orchestra recordings. See PAS Hall of Fame. For a full biography, visit www.pas.org. cocktail drum. A small bass drum, similar to a floor tom, mounted vertically and played by a foot pedal that strikes the drum from the bottom, allowing the top head, which is sometimes fitted with internal snares, to be played while standing. cocktail kit. A drum kit (drum set) built around a cocktail bass drum. It usually includes a snare drum, hi-hat, ride cymbal, woodblock, and cowbell in addition to the main cocktail drum. It is played while standing and is easily transported. coco. South American woodblock. cocoanuts. See coconut shells. cocobolo. A hardwood from Central America of the genus Dalbergia. It is a dark reddish-brown color with yellowish stripes. Cocobolo was a common hardwood used to make xylophone bars and drum sticks during the late 19th and early 20th centuries. coconuts, coconut shells. Two half-shells of a coconut that are played against the floor or a board made of slate or hardwood. Coconut shells were commonly used to imitate horse hooves but have been replaced by the use of two temple blocks as the preferred sound effect.
cocos. See coconuts. cog rattle. A mechanical device used to imitate the rattling of a cog wheel. See traps. Cohen, Martin (b. Jan 28, 1939). Elected to the Percussive Arts Society’s Hall of Fame in 2006 in the categories of ethnic music, industry, and inventions, Martin Cohen is best known as the founder of the influential company Latin Percussion Music (LP Music) and the inventor of the vibraslap. See PAS Hall of Fame. For a full biography, visit www.pas.org. coil spring. The steel spring from an automobile suspension system. A coil spring is usually suspended and struck with a hard mallet. See spring coil. col (It.). With. col canto (It.). With the voice. Often found in opera when the music should follow the singer. col fèrro (It.). With metal. col légno (It.). With wood. col mazza (It.). With large mallet.
col pollice (It.). With thumb (a thumb roll). Colgrass, Michael (b. Apr 22, 1932). Elected to the Percussive Arts Society’s Hall of Fame in 1987 in the categories of composition and education, Michael Colgrass is best known in the percussion field for his compositions for solo percussion, percussion ensemble literature, and extensive use of new percussion techniques in his symphony works. See PAS Hall of Fame. For a full biography, visit www.pas.org. Colgrass drums. Cardboard shell drums with calf skin heads that are tuned by thumb screws. Predecessors to the modern RotoTom, it was developed by Michael Colgrass and Al Payson and first used in Variations for Four Drums and Viola composed by Colgrass. colla (It.). With. colla mano (It.). With hands or fingers. colla mazza (It.). With a large beater. collapsible bass drum. Patented by Barry Manufacturing Company in 1917, this drum folds into four sections that easily fit into a small carrying case for ease of transport. collapsible wire brush. A wire brush with a hollow handle into which the brushes can be pushed. See brushes. collar. The portion of a drum head between the bearing edge of the shell and the counterhoop. collar hook. A claw used for single-flanged counterhoops. See claw hooks. Colonial drums. Rope drums used prior to the American Revolution. Common sizes are 16 inches in depth and 14 to 16 inches in diameter. colpo di cannone (It.). See cannon shot. colpo secco con la bacchetta (It.). Short, dry stroke with the mallet. combination effect machine. A mechanical device that imitates more than one
sound, such as thunder and rain; thunder and lightning; steam exhaust and locomotive bell; or wind, water, and crash. See traps. combination jazz sets. A hoop-mounted attachment for early drum sets that included two toms (large and small), cowbell, and two-tone woodblock. combination orchestra and band drum. Patented December 18, 1900, a drum that splits in half at the middle of the shell and can be played as a singleheaded orchestra drum or as a double-headed band drum. It has snares under each of the heads, and produces a lighter volume with a smaller drum for orchestra use and a heavier volume with the larger drum for band use. combination snare strainer and muffler. Early term for a snare strainer, which also had a method of disengaging the snares. During the early 20th century, the term muffled meant to play with snares off, or disengaged, so that the drum sounds like a tom. come sopra (It.). Play as above. comedy rattle. A metal ratchet used to imitate the winding of a watch or the sound of an airplane starting. See traps. comedy slide whistles. See slide whistle. commencer imperceptiblement (Fr.). Begin imperceptibly. compass. The range of an instrument. compound rudiment. See hybrid rudiment. con (It.). With. con corda (It.). With snares (snares on). con manico della mazza (It.). With the handle of the beater. con pedale sempre (It.). Always with pedal. con sordina (It.). With mute. con una bacchetta (It.). With a mallet (or stick).
concert bass drum. A large bass drum measuring 36 to 40 inches and commonly mounted on a stand by suspension cords in order to ring freely. See bass drum. concert bells. See glockenspiel. concert roll. A multiple-bounce roll performed at a speed that will produce a smooth, sustained sound. concert snare drum. A snare drum with a depth of between five and eight inches, and a 14-inch diameter. A concert snare drum is usually equipped with wire, cable, or nylon-coated snares and tuned to a short, crisp sound in order to execute intricate passages at all dynamic levels with a concert band, orchestra, or percussion ensemble. concert toms, concert tom toms. Graduated in size, these are single-headed tunable toms, usually in sets of four. Sometimes, double-headed toms are preferred for a more focused tone. conch shell. A trumpet made by smoothly cutting the end off of a seashell. Percussionists are often asked to play this, for example, in Third Construction by John Cage. concussion blocks. Two wooden blocks, usually made of hardwood, that are struck together or on the floor. Concussion blocks are used in Japanese and Chinese theater productions and known as hyōshigi. concussion sticks. Two sticks, usually made of hardwood, that are struck together or on the floor. Commonly found in elementary educational settings, they are also known as rhythm sticks. conga, conga drum. A deep, narrow, barrel-shaped hand drum with a single head. Derived from African heritage, the conga is a primary drum for Cuban and Latin American music. Congas are available in three sizes, which comprise a set, and are called (from smallest to largest): quinto, conga, tumba. The rawhide head produces four types of tones: open, closed, bass, and slap. The techniques of performing include not only these tones, but a heel-toe or rocking motion, called the mara, where the hand plays an alternating motion between the heel of the hand and the fingertips.
Conga Trommel (Ger.). See conga, conga drum. congitas. Small Afro-Cuban congas. congoera. This is a notched scraper from Paraguay, often made from human bone. conical drum. A drum having a shell constructed in the shape of a cone. For a double-headed drum, this would result in one head being larger than the other. console. A metal rack mounting system with a trap table attached to the top that fits over the bass drum for a trap set (early drum set). The console is used as a table for assorted traps and sound effects, as well as a rack or rail to attach various sound effects, toms, or cymbals. console outfits. Early drum sets (drum kits), known as a trap set, with a console mounting system. consolette. A small console. contra bass marimba. A marimba with a range of G1 to G3. contra bass wobble board. A large piece of blackboard that is held at arm’s length and shaken, creating a sound that emulates giant water bubbles. contract drum. A drum manufactured and purchased by a government order, usually for use by the military during war time. During the American Civil War, these would be rope drums emblazoned with the Great Seal of the United States. During WWI and WWII, these were rope drums made with limited amounts of metal due to the restrictions on the use of metals on nonessential combat items. contre le genou (Fr.). Against the knee. A direction to strike an instrument— such as a tambourine—against the knee. conventional grip. See traditional grip. cooking pot. See Waterphone.
coordinated independence. Technique for developing independence in all four limbs on a drum set by coordinating which limbs play together for all standard beats and rhythms in various styles of music. This technique is best illustrated in the methods of Jim Chapin and Marv Dahlgren. coperti, copèrto (It.). Covered. This is an indication to muffle or mute a drum, or to turn the snares off (muffled). copper alloy. A blend of metals that has copper as its main component. Common types of copper alloys are bronze and brass. Many percussion instruments, such as cymbals, gongs, drum shells, and timpani bowls, are made from copper or copper alloys. coprire (It.). Cover. This is an indication to cover a drum with a mute or muffler, or to turn the snares off. coque de noix (Fr.). See coconut shells. coquilles noix de coco (Fr.). See coconut shells. cor d’auto (Fr.). See auto horn. cord. Woven rope, usually made of hemp, used on rope drums. cord hook. A hook that attaches over a wooden counterhoop on a rope drum that has an opening for the drum cord to run through. See claw hooks. cord slide. A metal fixture that mounts onto a wooden counterhoop at the point that the cord or rope crosses the edge of the hoop. The cord slide provides a smooth surface on which the rope travels and protects it from fraying. còrda (It.). See snares and cord. corde di budello (It.). Gut snares. corde di metallo (It.). Wire snares. cordes (Fr.). Rope, strings, or snares. cordes (It.). String or snares.
coreani (It.). Korean blocks. See temple blocks. corno di automobile (It.). See auto horn. corrugated tube. A length of plastic tube that produces a loud whistle when swung in a circle. The tones of the harmonic series can easily be produced by varying the speed of rotation of the tube: the faster the tube is swung, the higher the overtone. The length of the tube determines the exact pitches produced. corta (It.). Short. coton (It.). Cotton. coucou (Fr.). See cuckoo. counterhoop, counter hoop. A circular, metal, or wood hoop that lies against the drum head pressing down on the flesh hoop. The counterhoop can have any number of bends, called flanges, which help to add strength to the hoop. The counterhoop is tensioned downward to tighten the drum head by various means, such as a rope through holes in the hoop, a rope through clips on the hoop, a tension rod through hooks or claws on a hoop, or a tension rod through holes in the hoop.
coup (Fr.). See stroke. coup de bouchon (Fr.). See pop gun. coup de charge (Fr.). A drum stroke from French and Swiss styles consisting of two alternating single strokes, the first louder than the second, sounding as “Tala” or “Pata.” coup de marteau (Fr.). Hammer stroke. See hammer. coup de pistolet (Fr.). See pistol shot. coup de revolver (Fr.). See pistol shot and gunshot. Abbreviation is Rev.er. coups de verre (Fr.). See tuned glasses. couvert (Fr.). Covered (muted or muffled). cover. A canvas, Naugahyde, cotton, or other protective layer of material cut to fit and laid on top of percussion instruments such as timpani, keyboard
percussion instruments, chimes, and celestas. The cover is often padded for added protection and sometimes waterproofed in order to prevent damage from any type of water accidentally spilled on the instrument when not in use. covered. To place a cloth, mute, muffle, or damper on an instrument. cow bawl. An instrument designed to imitate the cry of a cow or calf. Also called moo. See traps. cowbell, cow bell. Originally metal bells with an internal clapper and hung around the neck of a cow, a modern cowbell is now designed in a wide variety of shapes, sizes, and sounds. The instrument version of a cowbell has no internal clapper and is either held in the hand, or mounted to a stand or to a post attached to a drum or stand. Cowbells have distinct sounds when struck with a stick or beater over the lip of the mouth of the cowbell or on the shank. The closed end of a cowbell usually has a mounting bracket with a threaded hole in order to be attached to a post or cowbell mount. Cowbells are an essential sound for most Latin American music, rock, and popular music and were among the first traps to appear with early jazz drum sets. Tuned cowbells are arranged in chromatic keyboard fashion, and pitched Almglocken appear in the music of Mahler, Weber, and other significant symphonic composers, as well as percussion chamber music. Various arrangements of small numbers of cowbells have periodically been manufactured, especially for use in jazz or novelty music, such as the Jazzerup or Quattro bell. Fr. cloche de vache; Ger. Almglocken, Kuhglocken, Herdenglocken; It. campanaccio; Sp. cencerro.
cowbell clip. A spring clip used to attach a cowbell to the rim of the bass drum of a drum set. cowbell holder. See cowbell mount. cowbell mount. A short steel post that attaches to either a stand or the rim of a drum to which a cowbell is mounted. cowbell pedal. A foot pedal with an attachment for a cowbell, which sits upright in the holder allowing the beater to strike near the mouth of the cowbell. cradle. A collapsible stand usually constructed with three or four legs that opens to allow a drum to freely sit within the arms at the top of the stand. A cradle is used primarily for early 20th-century toms, Chinese toms, and handtuned timpani. crank bell. A small bell mounted on a board and operated by a crank. When the crank is turned, a clapper rapidly strikes the bell, imitating a school bell or telephone. crank rattle. See ratchet. crash cymbal. A medium-thin suspended cymbal that easily speaks when
struck on the edge. crash cymbal holder. A mounting spindle for suspended cymbals that attaches to the bass drum rim of an early drum set. crash cymbal roll, crash cymbals roll. (1) A technique on a drum set where a player rolls a sustained sound on a suspended cymbal. This is best accomplished with soft mallets on the edge of the cymbal, but is also effective with sticks, if that timbre is desired. (2) A technique where a pair of crash cymbals are pressed slightly together and one moved against the other in a circular pattern. Also known as a two-plate roll or crash cymbal tremolo. crash cymbals. A pair of cymbals that are struck (crashed or clashed) together. Also known as hand cymbals or clash cymbals. crash machine. A device that imitates the sound of wood, glass, or metal breaking. See traps. crasher. A small number of metal strips, either flat or corrugated, that are loosely mounted on top of each other in order to produce a trashy, crashing sound when struck. See ribbon crasher. crécelle (Fr.). See ratchet. creepy sound, creepy effect. Produced for film scores, creepy sounds are usually executed by applying friction to a large drum or gong, thereby creating fast vibrations and overtones. For a drum, a Super Ball mallet will produce the desired effect. On a gong or large cymbal, either a Super Ball or the tip of a drum stick held perpendicular to the instrument will produce the desired overtones. crescent. See Turkish crescent. cricket call, cricket callers. A device that imitates the sound of a cricket chirp. A cricket call is a small instrument with a metal strip that clicks when depressed. See traps. cross grip. A method of holding two mallets in one hand. Primarily used for keyboard percussion instruments, the cross grip can also be used on multiple-percussion setups. In this grip, the shafts of the two mallets cross
each other in the palm of the hand and the interval between the mallets is changed by pushing the mallets apart with the thumb and index finger. Also known as a scissors grip.
cross stick. A technique where a drum stick is placed with one end of the stick (usually the tip) on the head with the other extending over the counterhoop. The shaft of the stick is then struck on the counterhoop producing a hollow sound, similar to that of a clave. Also known as a knock and erroneously known as a rim click. cross sticking. A technique where the hands and forearms must cross each other in order to strike a drum on the left with the right stick or the right with the left stick. crotales. Tuned brass discs. These can be played separately or mounted as a chromatic set and are struck either with hard beaters, mallets, or against each other. See antique cymbals. Fr. crotales; Ger. Zembeln; It. cimbali antichi, i crotali; Sp. crotalos. crotali (It.). See crotales. crotalos (Sp.). See crotales. crow call. A musical instrument used to imitate the sound of a crow’s call.
crown (of cymbal). See bell (of cymbal) and cymbal. crushing effect. A mechanical device that imitates the sound of metal or wood being crushed. See traps. crystal glasses. See musical glasses. crystallophone. A collection of crystal glasses tuned to pitch by adding water and then rubbed around the rim with the fingers to cause friction, producing a clear, singing pitch. See musical glasses. csapás (Hun.). See percussion. Cuban sticks. See claves. Cuban tom toms. See bongos. cuckoo bird call. A two-toned whistle that imitates the sound of a cuckoo bird. See traps.
cuculo (It.). See cuckoo bird call. cucumbi (Br.). Afro-Brazilian drum. cuerdos de tripa (Sp.). Gut snares. cuerno de auto (Sp.). See auto horn. cuíca (Por.). A single-headed, Brazilian friction drum with a length of wooden twig or stick attached to the underside of the head. The twig is rubbed with a moistened cloth to produce squeaking noises with varying pitches.
cuir (Fr.). Leather.
culo-en-tierra (SA). A small Venezuelan drum made from a coconut shell. cultrun (SA). South American Indian term for drum. cumaco. Afro-Venezuelan drum. cununú (Sp.). A large Colombian drum made from a tree trunk. cup chimes. Small, indefinite-pitched cymbals with large bells. Available in several sizes, they can be arranged in any order for exotic-sounding scales or effects. cùpola (It.). See bell (of a cymbal). curveta (SA). A large Afro-Venezuelan footed drum cut from a log with a cylindrical body. It is covered with a single head made of goat or deer skin and played with two sticks while accompanying songs and dances. cushion. See shot cushion. cyclone whistle. See Acme siren whistle. cylinder of CO2. A metal gas cylinder used for CO2 (carbon dioxide). The cylinder is emptied and, with the valve removed, it is suspended and struck with hard mallets. cylindrical drum. Any drum with a shell in the shape of a straight-sided cylinder. They can be single headed or double headed and may or may not have snares. This is the most common shape for a drum shell. cylindrical wood block. A two-tone instrument composed of a pair of wooden tubes with cross-cut slits, usually mounted on the counterhoop of a bass drum. Cylindrical wood blocks were popular for early jazz drum sets. cymb. frappe’e (Fr.). Abbreviation for cymbals struck together (crash cymbals). cymb. frappe’e avec baguette (Fr.). Abbreviation for cymbal struck with a stick. This designates a suspended cymbal.
cymb. susp (Fr.). Abbreviation for suspended cymbal. cymb. suspendue (Fr.). Abbreviation for suspended cymbal. cymbal, cymbals. A thin, circular, brass disc hammered to produce a distinct bell in the center with a gentle flare in thickness from the outside edge and a slight downward curve from the center bell. Originating in Turkey and Asia, these instruments come in all sizes and thicknesses, with distinctive bell shapes and sizes, as well as hammer patterns and finishes to produce unlimited variety in attack, sustain, and overall qualities of timbre. They are played in pairs as crash cymbals, and suspended for use in orchestras and all types of popular music on drum sets. Common types of cymbals are ride, crash, splash, sizzle, German, French, Viennese, Turkish, Chinese, and hihat. Parts of the cymbal are the bell, bow, and edge, each of which has a distinctive timbre when struck with a snare drum stick or mallet. Cymbals are also rolled with soft mallets for sustained sounds. Fr. cymbales; Ger. Becken (Tellern for crash cymbals); It. piatti, cinelli; Sp. platos.
cymbal arm. Length of steel that attaches to the post of an early drum set holder and has a curved end from which to hang a cymbal. cymbal beater. A circular piece of wire with an attached wood handle used to strike a cymbal mounted on or attached to a bass drum. See attached cymbal.
cymbal bell. See bell (of cymbal). cymbal bells. See crotales. cymbal clamps. Holders for suspended cymbals. They are mounted on the bass drum counterhoop in early drum sets. cymbal felt. A felt disc that sits atop a cymbal stand, cushioning the cymbal from the metal cymbal washer. cymbal holder. An attachment that holds a cymbal to the bass drum counterhoop on an early drum set, usually for use with a pedal with a cymbal striker. cymbal knot. See cymbal strap. cymbal muffler. A padded felt attachment located behind a cymbal when mounted to a drum set bass drum during the early 20th century. Connected to the bass drum pedal, the cymbal muffler prevents the cymbal from ringing when the bass drum pedal with cymbal striker is fully retracted. cymbal pads. Leather or lamb’s wool discs that go over cymbal straps and cushion the contact area between the bell and the player’s hands. cymbal rocker. Early 20th-century name for an adjustable cymbal tilter designed with loose washers and felts, in order for the cymbal to be angled and freely swing when struck. cymbal stand. A stand designed to hold a suspended cymbal for use in concert ensembles, percussion ensembles, or with a drum set. Cymbal stands are made of a series of interlocking tubes as either straight or boom stands, and have a tripod base. The top of a stand has a cymbal tilter and a threaded post over which the cymbal is mounted.
cymbal strap. A handle for crash cymbals made from a strip of leather. The cymbal strap is split on both ends, folded over, and tied inside the bell in a distinctive square-shaped knot.
cymbal striker. A curved metal beater attached to the shaft of a bass drum beater that angles out and strikes a cymbal mounted to the rim of the bass drum, allowing both the bass drum and cymbal to be struck with a single pedal stroke. This was used during the early part of the 20th century for early drum sets, primarily before the advent of the hi-hat. cymbal suspender. A cymbal holder that allows a cymbal to hang from a horizontal post attached to the rim of a bass drum on a drum set. cymbal tilter. A mechanical joint at the top of a cymbal stand that allows a suspended cymbal to be held at an angle. See cymbal stand. cymbal tongs. Metal tongs with a pair of finger cymbals mounted at the ends that are struck together by squeezing. Also called metal castanets.
cymbal tree. A series of cymbals, graduated in size and mounted on a vertical rod with fixed spacing between them. cymbal washer. A slightly concave metal disc with a center hole that sits atop a cymbal stand and carries the weight of the cymbal. cymbale (Fr.). See cymbal. cymbale Charleston à pédale (Fr.). See hi-hat. cymbale Chinoise (Fr.). See Chinese cymbal. cymbale dedos (Sp.). See finger cymbals. cymbale doigte (Fr.). See finger cymbals. cymbale fixée à la grosse caisse (Fr.). See bass drum with attached cymbal. cymbale libre (Fr.). See suspended cymbal. cymbale suspendue (Fr.). See suspended cymbal. cymbales (1 suspendue et 2 choquées) (Fr.). See cymbals (one suspended and two crash cymbals). cymbales à 2 (Fr.). Two cymbals (crash cymbals). cymbales à l’ordinaire (Fr.). See crash cymbals. cymbales à pédale (Fr.). See hi-hat. cymbales antiques (Fr.). See antique cymbals. cymbales choquées (Fr.). See cymbals clashed (crash cymbals). cymbales digitales (Fr.). See finger cymbals. cymbalier (Fr.). Cymbal player. cymballetes. Small cymbals, similar to large metal jingles, that are mounted on a handle. One is stationary and the other freely moves when struck against
the knee or other object. Used in early jazz music. Cymbeln antic (Ger.). See antique cymbals.
D d. (Fr.). Abbreviation of droite, right hand. dabachi. See dobači. d’acciaio (It.). Steel. d’acier (Fr.). Steel. dadaiko. A large Japanese barrel drum used in gagaku court music. dada-mama roll. See mama-dada roll. dadoo (SA). Venezuelan term for maracas. daf, daff, duf, duff (Arab.). (1) Middle Eastern (Persian) frame drum of a large size, with metal rings mounted inside or (2) frame drum of India without jingles or rings that is derived from the Persian drum. dagga. See duggī. dahina (Hin.). Also known as tablā, the dahina is the smaller drum in a set of tablā drums. See tablā. daiko. Japanese word for drum, usually found with a qualifying prefix to identify the construction, use, or size. See taiko. daimuru (Hin.). A small, hand-held drum constructed from two halves of a gourd mounted on a handle with the open sides facing away from each other. Each gourd has a goat-skin head over its opening and a small bead attached to a cord that, when the drum is rotated, strikes the heads. Similar to a monkey drum. daira, daire. See dayereh. daishoko. A large Japanese gong, made from bronze and used in gagaku court music.
daka-de-bello. A six-tone slit drum. damaru. A wooden hourglass drum from India and Mongolia. See daimuru. dampen. To muffle or mute the sound of an instrument. damper. An object made of felt, cloth, rubber, or synthetic materials and placed on, or attached to, an instrument in order to muffle or mute the vibrations. damper bar. A padded slat of metal or wood that runs underneath the bars of a vibraphone or glockenspiel, or between the tubes of chimes, in order to muffle or mute them. They can be operated by either a foot pedal or by hand, depending on the construction of specific instruments. damper pedal. The foot pedal that operates a damper bar on a vibraphone, glockenspiel, or chimes. dämpfen (Ger.). Dampen. (1) To mute or muffle the sound during or after striking the instrument. (2) To play with the snares off. See muffled. Dämpfer (Ger.). A mute or a muffler. Dämpfer ab, Dämpfer weg, Dämpfung ab (Ger.). Muffler off, without muffler. Dämpferpuppe (Ger.). Drum muffler or internal damper. See muffler. Dämpferstoff (Ger.). Cloth muffler. Dämpfung (Ger.). Damper, mute, muffler, or internal muffler. See Dämpfer ab. dance drum. A frame drum used to accompany dancing. dance drums. See drum set. daph. South Asian frame drum. dar con (Sp.). To hit or to strike. darabucca. See darabukka.
darabuka (Ger., Sp.). See darabukka. darabukka (Arab.). Single-headed goblet drum, made from wood, pottery, or metal. Used in many Arab cultures, and usually having a goat-skin head, the darabukka is held under the arm and struck with fingers and hands. Fr. derbouka, tambour arabe; Ger. arabische Trommel; It. tamburo arabo.
darabukke, darboukka (It., Fr.). See darabukka. darbuk, darbuka (Sp.). See darabukka. darmu. An hourglass-shaped monkey drum, without handle. das Fell (Ger.). See Fell.
das niedrigstre Register (Ger.). See niedrigstre. daula. A double-headed drum from Sri Lanka, similar to the davul. Daumen (Ger.). Thumb, or with the thumb. Daumen überstell (Ger.). Hold the thumb above. davul. A large, Turkish double-headed drum. Hung from a shoulder strap, the davul is played with a wooden mallet on the top head, and with a switch or cane on the bottom. Dawson, Alan (Apr 22, 1932–Feb 23, 1996). Elected to the Percussive Arts Society’s Hall of Fame in 1996 in the categories of band leader, drum set, education, radio/television, and recording artist, Alan Dawson is best known for his drumming with Oscar Peterson, George Shearing, and Dave Brubeck, as well as his extensive teaching influence due to his position at Boston’s Berklee College of Music. See PAS Hall of Fame. For a full biography, visit www.pas.org. dawuro (Af.-Ghan). A large, clapperless bell from Africa. Usually played in pairs, it is an integral part of the Asante drumming ensemble in Ghana. dayereh. Medium-sized frame drum from parts of Europe, the Middle East, and parts of Asia. It often has bells or jingles attached inside, around the perimeter of the frame. Days of Percussion. Annual days of organized clinics and performances, usually on a state or local level in the United States and by regions or countries in the remainder of the world. Sponsored under the auspices of the Percussive Arts Society, major manufacturers, universities, or large drum shops. DCA. See Drum Corps Associates. DCI. See Drum Corps International. dead stroke. A technique whereby the stick or mallet is pressed into the head or instrument with no rebound, resulting in a short sound with little resonance and an immediate cessation of the tone.
Deagan. Musical instrument manufacturing company founded in 1898 by John Calhoun Deagan. First operated under his name, it was incorporated in 1913 as J. C. Deagan Musical Bells Inc., and later as J. C. Deagan Inc. Located in Chicago, the Deagan Company manufactured all types of keyboard percussion instruments as well as many types of tuned novelty instruments, tuning forks, tuning machines, bells of all shapes, and musical tower chimes. The company was briefly owned by the Slingerland Drum Company during the 1970s, with the rights and patents ultimately being sold to the Yamaha Corporation when the company ceased operation in the 1980s. Yamaha continues to manufacture glockenspiels (bells) and chimes under the Deagan name. Deagan, John Calhoun (Nov 6, 1853–Apr 28, 1934). Elected to the Percussive Arts Society’s Hall of Fame in 1999 in the categories of author, industry, and inventions, John Calhoun Deagan is best known as the founder of the company that bears his name, J. C. Deagan Inc., a major manufacturer of keyboard percussion instruments, as well as novelty instruments, bells, and carillons. See PAS Hall of Fame. For a full biography, visit www.pas.org. découvert (Fr.). Uncovered or open (not muted). deep cup cymbal. A cymbal with a large bell, often a smaller diameter instrument, 8 to 12 inches in diameter. The deep cup cymbal was popular during early jazz music and remains popular in rock and fusion styles in larger diameter cymbals. deep-flanged hoop. A counterhoop with an extended rise above the head, making it conducive to execution of rim shots. dejar vibrar (Sp.). Let vibrate or let ring. DeJohnette, Jack (b. Aug 9, 1942). Elected to the Percussive Arts Society’s Hall of Fame in 2010 in the categories of author, band leader, composition, drum set, education, industry, radio/television, and recording artist, Jack DeJohnette is best known for his distinctive, free drumming style with such artists as Miles Davis, Pat Metheny, Keith Jarrett, and Ornette Coleman. See PAS Hall of Fame. For a full biography, visit www.pas.org. Delécluse, Jacques (Sep 15, 1933–Oct 29, 2015). Elected to the Percussive
Arts Society’s Hall of Fame in 2009 in the categories of author, composition, education, orchestral, radio/television, recording artist, and timpani, Jacques Delécluse is best known as timpanist for the Orchestre de Paris and as a professor of percussion at the Conservatoire de Paris, where he composed many method books and études for percussion. See PAS Hall of Fame. For a full biography, visit www.pas.org. Delucia, Dennis. Elected to the Percussive Arts Society’s Hall of Fame in 2015 in the categories of author, composition, education, industry, and rudimental, Dennis Delucia is best known for his work in the fields of marching percussion education and drum corps performance. See PAS Hall of Fame. For a full biography, visit www.pas.org. dependent stroke. A stroke by one limb that coordinates its motion on that of another limb. d’eponge (Fr.). Sponge. derabucca. See darabukka. derbocka, derbouka, derbuka (Fr., Ger.). See darabukka. derrick imitation. A mechanical device that emulates the sound of an oil derrick in motion. See traps. desk bell. A small metal bell, commonly found in reception areas, that is struck by an internal clapper pressed from above the bell. detachable spur. A bass drum spur that can be removed from the drum. détendre (Fr.). To slacken or to loosen. deutlich (Ger.). Clear or distinct. develine whistle. See Acme mouth siren. devil chaser. A bamboo stick having a single split lengthwise about half the length of the stick on one end. When struck, the split tongues vibrate against each other.
devil’s violin. See bumbass. dharma bells. Small microtonal-tuned brass bowls that are struck with beaters or rubbed around the edge as a singing bowl. Also called Chinese Confucian bells when mounted, and temple bowl gongs or dobachi when set on pads.
dhol. An Armenian double-headed cylindrical drum that is played with the hands. Also called nagara. ḍhol. A generic term for several types of large, double-headed cylindrical drums or barrel drums of the South Asian or Indian subcontinent. These drums are played with a curved beater on the lower-pitched head and a switch or stick on the higher-pitched head. ḍholak. These drums are distinct from the ḍhol, as they are usually played with the hands and fingers while seated. However, ḍholak is also a common, generic term for several types of large cylindrical drums or barrel drums with laced, tension systems of South Asia. diable de bois (Fr.). A Waldteufel or pasteboard rattle. Diapason de 8 tuyaux bourd, de 16 (Fr.). Organ pipes used to imitate the sound of a foghorn. diavolo di bosco (It.). A Waldteufel or cardboard rattle.
dicht (Ger.). Thick or dense. dicker Klöppel (Ger.). Thicker beater. diddle. A rudimental-style double stroke (RR or LL), executed with a hitbounce technique. diddle rudiments. Rudiments that include at least one double stroke, or diddle, in their construction, such as a paradiddle, flamadiddle, and paradiddle-diddle. See appendix N, “PAS 40 International Drum Rudiments.” didgeridoo, didjeridoo. An Australian aerophone made from a branch of the eucalyptus tree and played by buzzing the lips to produce variations of the fundamental pitch as a drone. die Triolen immer schnell (Ger.). The triplets are always played fast. digital drum set. See electronic percussion instruments. dinner bell. A small hand bell, with internal clapper. dinner chimes. A set of three to six metal tone bars with resonators that are mounted on a frame. These often produce the familiar three-note station identification tones for the NBC (National Broadcasting Corporation) network.
direct pull. A pedal that pulls on a beater mechanism in a straight line, as opposed to being pulled through a flexible chain, strap, or cord around a pivoting cam. disappearing spurs. Bass drum spurs that retract into the shell of the drum when not in use. distinettes. A trap instrument that imitates the sound of a typewriter. See traps. dito (It.). Finger. dito pollice (It.). Thumb. djembe (Fr.). An African goblet drum with a rope-laced tension system on a goat-skin head. The djembe is played with the hands either seated or standing and is one of the most popular used in modern drum circles.
Do muta in Re (It.). Change C to D. dob (Hun.). See drum. dobači, dobachi. Metal Chinese or Japanese temple bell or singing bowl that rests on a small cushion, often played in sets of three or four. See dharma bells. Dodds, Warren “Baby” (Dec 24, 1898–Feb 14, 1959). Elected to the Percussive Arts Society’s Hall of Fame in 2007 in the categories of band leader, composition, drum set, and recording artist, Warren “Baby” Dodds is best known as a New Orleans drummer with such early jazz greats as Joe “King” Oliver, Louis Armstrong, and Jelly Roll Morton. See PAS Hall of Fame. For a full biography, visit www.pas.org. dog bark. An instrument that imitates the sound of a dog. A small friction drum, it is similar to a lion’s roar, but mounted horizontally with a string attached between the head and a rod so that the rosined or moistened rag can be played with a single hand. See traps.
doigt (Fr.). Finger. doira. A frame drum of Eastern Europe. ḍolak. See ḍholak. domed gong. See button gong. donkey bray. A conical wind instrument that imitates the “hee-haw” sound of a donkey bray. See traps. Donnerblech, Donnermaschine (Ger.). See thunder sheet. donno. See talking drum. doorbell. A buzzer or a two-note chime that imitates the sound of the entry bell on a door. See traps. Doppelkonustrommel (Ger.). Double conical drum. Doppelschlag (Ger.). A double-headed beater. Doppelt Besetzt (Ger.). Use two or double. A direction to use two instruments or players. doppelter Vorschlag (Ger.). See drag. dora. A small Japanese button gong. double bass. (1) A drum set with two bass drums. (2) Performance manner of playing a single drum set bass drum with a double bass pedal. (3) A large chordophone in the string family of instruments. double bass pedal. A bass drum pedal with two footboards. See bass drum pedal. double bell. Two metal bells of differing sizes connected together. double claw hook. A connector with two protrusions that bend over the hoop. See claw hook.
double conical drum. A double-headed drum with a waist larger than the drum head on either end. double drumming. A method of simultaneously playing a snare drum and floor-mounted bass drum by one player. This is accomplished by positioning the snare at an angle facing the bass drum head, and striking both drums on the head with snare drum sticks. Double drumming was a common performance technique prior to the use of bass drum pedals. double flutes. Two reinforcement beads in a metal snare drum shell. double glope (Sp.). A castanet stroke having two sounds, one with each castanet in quick succession, like a flam. Double Image (Dave Samuels and David Friedman). Elected to the Percussive Arts Society’s Hall of Fame in 2015 in the categories of author, band leader, composition, educator, keyboard percussion, and recording artist, the vibe/marimba duo Double Image is best known for its groundbreaking recordings in jazz, classical, and popular music genres, which have spanned over a 40-year career. See PAS Hall of Fame. For a full biography, visit www.pas.org. double lateral stroke. A four-mallet, keyboard percussion instrument technique consisting of a sideways, twisting, or “J” stroke motion in one hand where one mallet strikes a bar before the other. double mailloche (Fr.). A double-headed mallet. See bass drum beater. double paradiddle. A standard rudiment with two alternating single strokes followed by two double strokes: RLRRLL or LRLLRR. See rudiments and appendix N, “PAS 40 International Drum Rudiments.” double post supports. A single-tension drum having two support posts mounted on the shell for each tension rod. double stroke. A technique where two sounds are produced by one hand using a single motion, RR or LL. Also known as a hit-bounce technique or diddle. See rudiments and appendix N, “PAS 40 International Drum Rudiments.” double stud supports. See double post supports.
double tension. A tuning system with tension rods that simultaneously adjust the tension for both the top (batter) and bottom (snare or resonant) heads. See tuning systems and separate tension. double vertical rolls. A four-mallet, keyboard percussion instrument technique consisting of alternating right and left hands performed at a speed that produces a sustained sound. See double vertical stroke. double vertical stroke. A four-mallet, keyboard percussion instrument technique consisting of a vertical motion in one hand where both mallets strike in rhythmic unison. double-braced. A stand that has two lengths of metal on each tripod leg for added strength and stability. double-ended castanets. An instrument design whereby two pairs of castanets are mounted on a single handle, one pair on each end. double-ended mallet. A mallet with a beater head on each end of the shaft.
double-flanged counter hoop, double-flanged hoop. See counterhoop. double-headed drum. A drum having two heads, one mounted over the opening on each end of the shell. Double-headed drums can be performed in a vertical position, whereby a player strikes only the top head and the bottom is a resonant head, or in a horizontal position, whereby a player strikes both heads. See single-headed drum. double-stroke roll. A standard rudiment composed of repeating double strokes (RRLL) performed at a speed that produces a sustained sound. See rudiments and appendix N, “PAS 40 International Drum Rudiments.” douce (Fr.). Soft. doumbek, doumbec. See darabukka. doumdoum. See talking drum.
doux (Fr.). Soft. down stroke. A technique where a stick or mallet begins away from the instrument and descends to strike the instrument. downbeat. A note that rhythmically occurs exactly on a beat. Though commonly meaning the first and strongest beat of a measure, for percussion it is sometimes mistakenly synonymous with playing exactly “on the beat” for any beat in a measure. down-up stroke. A technique where a stick or mallet begins away from the instrument, descends to strike the instrument, and immediately returns up to the starting point. Also known as a piston stroke. drag. A standard rudiment consisting of two grace notes, executed as a double stroke, followed by a single stroke (rrL or llR). Also known as a ruff. See rudiments and appendix N, “PAS 40 International Drum Rudiments.” drag rope. A braided rope that hangs in a loop at the bottom of a rope drum. It is used as both ornamentation and as a handle or strap to carry the instrument when not in use.
dragon’s mouth. Ornate temple block.
Drahtbürste (Ger.). Wire brushes. draped drum. A drum covered entirely with cloth. It is used to muffle the drum for purposes of funeral processions or music that represents a funeral. dreifacher Vorschlag (Ger.). See drag. dreitaktig (Ger.). In three. Dresden timpani. A design for pedal-tuned timpani where the tuning mechanism uses a clutch mounted outside of the bowl and the tension rods run from the counterhoop to the base plate. Pitch changes are accomplished by a cam-mounted arm that raises and lowers the base when rotated by the pedal. See timpani. drinking glasses. See tuned glasses. droite (Fr.). right. drome, dromme. Old English term for a medieval drum or tabor. drop groove. A drum set style where the bass drum is played on the backbeat, or count two, rather than on one. drop T-rod. See hinged T-rod. drum. (1) A membranophone consisting of some type of frame, bowl, or shell to which is attached either one or two heads. A head may or may not have adjustable tension. See snare drum and timpani. (2) An idiophone, usually cut from a solid log and hollowed out or constructed from wooden planks in the shape of a hollow box. See log drum and slit drum. drum bag. A flexible bag, usually made of canvas, leather, or cloth, which is used to protect and carry a drum. drum bell. A small bell attached to the counterhoop of a drum. drum belt. A leather or woven belt that goes around a play er’s waist and is used to carry a drum while marching.
drum cadence. See cadence. drum chart. Notated sheet music that gives the outline and structure for a song or instrumental composition. See appendix L, “Notation for Drum Set.” drum chime. A type of drum found in Asia and Africa that can be tuned to a specific pitch. drum cord. A twisted or braided rope used to tighten the heads on rope drums. drum cord hooks. Claw hooks used to attach the drum cord to a wood counterhoop. See rope drum. drum corps. A musical ensemble composed of marching drums or, of both drums and bugles. Also known as a drum and bugle corps. See DCA, DCI, American Legion drum and bugle corps, and Veterans of Foreign Wars (VFW). Drum Corps Associates (DCA). Founded in 1964, the DCA is the governing body for senior drum and bugle corps in the United States and Canada. It is the counterpart to junior corps who are governed by Drum Corps International (DCI). Drum Corps International (DCI). Founded in 1972, the DCI is the governing body for junior drum and bugle corps in the United States and Canada. It is the counterpart to senior corps who are governed by Drum Corps Associates (DCA). drum ear. See ear. drum gong. A type of tam-tam. drum head. The sounding membrane of a drum. A drum head is made from either the skin of an animal or plastic and is attached to the drum shell under tension. The head is usually lapped around or glued onto a wood or metal flesh hoop and tensioned by means of lacings or a counterhoop.
drum head tucker tool. See lapping tool. drum heater. See heater. drum hook. See claw andr carry hook. drum hoop. See counterhoop. drum key. A tool used to tension drum heads or adjust drum hardware.
drum kit. See drum set. drum machine. An electrophone that produces drum and percussion sounds. The drum machine usually has settings that can be programmed to loop drum beats with fills and breaks to match a specific song or piece of music. drum outfit. Early 20th-century term for drum set or drum kit. drum pad. A practice instrument that provides a rebound that is similar to a drum, but with little or no sound. drum rod. See tension rod. drum roll. A performance technique that produces a sustained sound on a drum. See rudiments and appendix N, “PAS 40 International Drum Rudiments.” drum rudiment. See rudiment. drum set. A collection of drums, cymbals, and auxiliary instruments situated so that they can be played by a single musician. Instruments in a drum set usually include a bass drum sitting on the floor, a snare drum, one or more toms, one or more suspended cymbals, and a hi-hat. Common auxiliary
instruments include cowbell, woodblock, electronic triggers or electronic drums, gongs, and temple blocks depending on the time period of the set and the style of music being performed.
drum shell. The body of a drum. It can be made from wood, metal, plastic, fiberglass, or other materials, and is described by its shape and method of construction. The most common shapes are cylindrical, barrel, and conical. Others, such as a goblet, hourglass, waisted, bowl, and footed are also common in non-Western cultures. drum snares. See snares. drum spike, drum spur. See spur.
drum stand. A standard piece of hardware that holds a drum at a height and angle appropriate for the player to strike. See snare drum stand. drum stick, drumstick. See snare sticks. drum stroke. The motion made by a player’s arm, wrist, and fingers (as well as the stick or mallet), when playing an instrument. See single stroke, double stroke, and multiple-bounce stroke. Drum Workshop (DWdrums). Founded in 1972 by Don Lombardi as a drum school in Santa Monica, California, DWdrums is now a major drum manufacturing company of high-quality drums and percussion hardware. Innovative designs, such as remote cable hi-hats, chain-driven bass drum pedals, and double bass pedals have revolutionized the modern drum set. A substantial amount of its recent growth has been through establishment and acquisition of other companies, including PDP (Pacific Drums and Percussion), Gretsch Drums, LP Percussion, and Gibraltar Hardware. drum wrench. A tool used to tension the head of a drum or tighten hardware on drums, stands, and holders. See drum key. DrumDial. A patented device that measures the tensile pressure at each lug on a drum head. drumKAT. An electronic drum controller pad. See Alternate Mode. drumkit. See drum set. drumline, drum line. A collection of percussion instruments and players that perform as a section of a marching band, drum corps, or indoor marching percussion ensemble. See front ensemble. drummers’ guild. An organization of musicians during the medieval era and later, who were authorized by the king or other monarch to perform as drummers. Members of the drummers’ guild first had to serve as an apprentice under a master drummer. drumset. See drum set. Drumslade (Ger.). Archaic term for a drummer.
drumstick. See snare drum stick. dual strainer. A snare drum that has two sets of snares, each with its own strainer. One set is usually under the batter head and the other under the snare head. duck call. An instrument used to imitate the quack of a duck. See traps. duff. See daf. Duff, Cloyd (Sep 26, 1916–Mar 12, 2000). Elected to the Percussive Arts Society’s Hall of Fame in 1977 in the categories of education, orchestral, theater, and timpani, Cloyd Duff is best known for his nearly 40-year career as timpanist with the Cleveland Orchestra, as well as his teaching position at the Cleveland Institute. See PAS Hall of Fame. For a full biography, visit www.pas.org. duggī. South Asian clay kettle drum having a laced skin head with a spot of black paste affixed to it. Duggī are played by hand as a single drum, or in sets of several drums. When used as one of the pair of Indian tablā drums, called bāyā, they have metal kettles. dumbec, dumbeg, dümbek, dümbelek. See darabukka. dümbek, dümbelek. Similar to the darabukka, this is a single-headed goblet drum from Turkey, made from clay or copper, and used to accompany vocal music or the dance. dumpf (Ger.). Muffled or muted. dundun. See talking drum. Duplex Manufacturing Company. Located in St. Louis, Missouri, the Duplex Manufacturing Company was founded by Emile Boulanger in 1883. The company, which was in business until 1968, was an innovative drum manufacturing company that held numerous patents on hardware and shell design, most notably the first separate-tension drum. dur, dure (Fr.). Hard.
dura (It.). Hard. duro (It., Sp.). Hard. durometer. A measurement of the hardness of a material. This measurement is often used in descriptions for the hardness of rubber or plastic mallet heads. dust pan gong. A gong made from a resonant, metal dust pan. When hung from the handle, its spinning motion creates a vibrato effect.
E ear. A sewn, tacked, or metal-reinforced piece of leather used to tension rope drums. Also known as a brace, tug, tab, or pull.
earth drum. A ceremonial drum of any design used for the worship of Mother Earth by tribal clans. Earth drums are typically frame drums with skin heads decorated with sacred images of a tribe’s beliefs; they are played with a single mallet. easy roll triangle. A triangle with ribs or notches on the bottom leg. When a beater is scraped back and forth on the ribs it creates a sustained sound.
échelette (Fr.). See xylophone. edge (bearing edge). The top and bottom edge of a drum shell that bears the tension of the drum head. Metal shell edges are spun over in a triangle for strength, or curved around a circle of steel wire. Wood-bearing edges can either be rounded, resulting in a warmer tone, or sharply cut, usually at 45 degrees, which brings out higher overtones and a clear fundamental tone. edon (LA). See cowbell. effector. See crasher. effects, sound. See traps. Effektinstrumente (Ger.). See sound effect instruments and traps. effet: 8ves sup (Fr.). Actually sounds one octave higher than written. effètto di piòggia (It.). See rain machine. egg maraca. A rattle or shaker shaped like an egg with a handle, or an egg shaker. egg shaker. A plastic shaker or rattle the size and shape of an egg. Egyptian fangingle. See Jingostick. einfacher Vorschlag (Ger.). See flam. einfellige grosse Trommel (Ger.). See gong bass drum. Einfelltrommel (Ger.). See single-headed drum. einige kleine Trommeln (Ger.). A few (more than one) snare drums. Eisen (Ger.). Iron. Eisenklöppel (Ger.). A metal beater (clapper). Eisenröhre (Ger.) See iron pipe.
Eisenschlägel (Ger.). A metal beater (triangle beater). ejecutante (Sp.). Performer or player. ektar, ektara. Indian chordophone having a single string that can be plucked or bowed for a drone effect. The resonating chamber, to which the string is attached, can be a gourd, wooden bucket, or barrel. ekwe. See African slit drum. ElectraVibe. Manufactured by Deagan, this is an electronically amplified vibraphone that was set into a case for ease of transport and assembly. It has no resonators and was produced from 1970 to 1982. electric bell, doorbell. Imitation of an electrically operated buzzer, alarm bell, or doorbell. See traps. electric drum heater. An internally mounted heater, often just a lightbulb, used to reduce moisture inside a drum and thereby tighten calf skin heads. electric siren. An electrically operated siren used to imitate fire engines, police cars, or warning devices. See traps. electronic percussion. Percussion instruments and components that are electrophones, such as electronic drum sets, drum machines, drum pads, mallet controllers, percussion MIDI controllers, triggers, and sound modules. Beginning in the 1970s single, stand-alone drums began to appear and gradually developed into fully digital, electronic drum sets by 1982. A major innovation took place when, rather than using synthesized sounds, recorded samples or samples of actual acoustic instruments became possible. Today numerous companies produce a full range of these electronic percussion instruments for use in all genres of music. electronic rack. An assembly of connecting tubes, stands, shelves, and hardware to which electronic drums, controllers, pads, drum machines, and computer tablets are mounted for live performance or studio recording. electrophones. Instruments whose sound is generated electronically or by computers and dispersed via a speaker system.
Elefantenglocken (Ger.). See elephant bells. elementary school instruments. Instruments manufactured specifically for use in early childhood education, such as Orff instruments or Rhythm Band instruments. These include diatonic xylophones and metallophones; cymbals; rhythm sticks (sometimes notched); triangles; castanets; and various shakers, tone blocks, bells, and plastic, pitched tubes. elephant bells. Small, brass spherical bells with prongs at the bottom opening and sounded by an internal clapper. Elephant bells originally hung from the ankle or saddle of elephants in India.
elevated sharps and flats. The construction of a keyboard percussion instrument so that the row of accidental bars is built higher and slightly overlapping the row of natural bars, facilitating movement of the mallets from one to the other by reducing the distance between the two rows of bars. elevator imitation. An instrument designed to imitate the sound of an elevator.
See traps. eleven-stroke roll. A rudiment consisting of five double strokes followed by one single stroke for a total of 11 notes. See appendix N, “PAS 40 International Drum Rudiments.” emblazonment. A design—often a coat of arms, symbol of a specific regiment, or national flag—painted or decaled onto the shell of a military field drum. These are most often found on rope drums used by British regiments or in the American Civil War, but continue to be used in military bands all over the world for ceremonial purposes. en copa (Sp.). On the cup. This is a direction to play on the bell of a cymbal. enchaînez (Fr.). (1) Connected, a tied roll or rolls. (2) Continue directly to the next section or movement of a piece. enclume (Fr.). See anvil. end stroke combinations. A term for rudiments in Swiss Basel drumming. engine whistle. A three-tone whistle used to imitate a steam engine such as a train or ocean liner. See traps. engraved shell. A decorative etching found on black-plated, brass drum shells. As the plating is removed by the etching, a highly visible design is produced. enkanika (Sp.). A square cowbell. enkomo (Sp.). A small Cuban drum. Entenquak (Ger.). See duck call. enveloppée en fil de laine (Fr.). Wrapped in yarn. This would refer to yarn mallets. eolifono (It.). See wind machine. éoliphone (Fr.). See wind machine. épaisse (Fr.). Thick.
éperons (Fr.). See spurs. éponge (Fr.). Sponge (soft). Equilibrium chimes. Bass chimes manufactured by Equilibrium Percussion, with available range of C2 to C4. escobilla (Sp.). Wire brushes. esecutóre (It.). Player. esquila (Sp.). See cowbell. esquiletas (Sp.). See xylophone. estaca (Sp.). See stick. estremità (Sp.). End. étendue (Fr.). The scope or range of an instrument. étouffé, étouffer, étouffez, étouffez le son (Fr.). To mute, muffle, dampen, or choke the sound. etwas dämpfen (Ger.). Slightly dampen. exécutant (Fr.). Player. éxecute avec une archet sur la point du bois (Fr.). Play with a bow on the edge of a wooden bar. exercises. Short, developmental musical phrases that serve to improve or perfect a certain technique or musical phrase. Short études. exhaust steam whistle. A locomotive whistle with one pitch. See traps. extended collar head. A drum head that extends well past the bearing edge of the drum, creating more resonance and fundamental tone of the head. external damper. See muffler.
extra holes. A drum shell that has been redrilled for hardware leaving the previous hardware’s holes intact. This process usually lowers the value of collectible drums. extrêmement long (Fr.). An extremely long time.
F facultatif (Fr.). Optional. falsch (Ger.). False. false flams. (1) An unintended flam created when two unison notes are not played precisely resulting in one note sounding just prior to the other. (2) A visual whereby the grace note is played, but the main note is mimed, does not strike the instrument, and has no sound. fan, fans. See vibraphone fan. fan drum. A Japanese single-headed paddle drum played with a stick. See uchiwa daiko. fan jingle. Trade name for a metal clapper having three sets of jingles arranged in a triangular, fan format and attached to a handle. fantasy jewels. Sparkle wrap in the shape of diamonds in fours colors, two per diamond, to affix to the shells of drums. Faßtrommel (Ger.). See barrel drum. Faust (Ger.). Fist. feather the pedal. A slang term, used primarily in jazz drum set playing, for slightly touching the bass drum beater to the head of the bass drum. This results in a soft note likely to be felt by a listener rather than heard. feathered joint. A construction method whereby a wood drum shell is tapered and glued at the point of overlap. A feathered joint results in an obvious seam but maintains the same thickness for the shell. This method can be used on both solid wooden shells and multi-ply shells. It is also used on the internal reinforcement rings. Also called a scarf joint.
Feld Heerpauker (Ger.). An honorific title for any European timpanist who, during the 15th and 16th centuries, had participated in battle as a soldier timpanist, playing drums mounted on horseback. Feldstein, Sandy (Saul) (Sep 7, 1940–Aug 30, 2007). Elected to the Percussive Arts Society’s Hall of Fame in 2005 in the categories of author, composition, education, industry, and publisher, Sandy Feldstein is best known as the author of thousands of books and compositions for percussion and other mediums and as an editor for major publishing companies, such as Alfred, Belwin Mills, Warner Bros., and Carl Fischer. See PAS Hall of Fame. For a full biography, visit www.pas.org. Fell (Ger.). Skin or drum head. Fell entspannt, das (Ger.). The skin should be loose. Fell muss gespann sein damit dieser Zwischenschlag kurz und sehr stark gelingt, das (Ger.). The skin must be tight so that the off beats are short and very loud. Fell muss gut sein damit dieser Zwischensclag kurz und sehr stark gelingt, das (Ger.). The head must be tuned so that the off beats can be short and very loud. Fell stark entspannt, das (Ger.). The head should be very loose. felt washers. Flat discs with a hole in the center made of various thicknesses of
wool. Felt washers are used as padding between hardware and cymbals in order to isolate the vibrations of the cymbal. Different heights and thicknesses correspond to the different sizes of the cymbal tilters or metal washers holding a cymbal.
feltro (It.). felt. Feng gong. A Chinese gong with slight curve to its shape and no bend on the edge. When struck, the Feng gong speaks quickly and has a full, wide spectrum of timbres.
fer (Fr.). Iron or metal. ferrinho (Br.). See triangle. fèrro (It.). Metal. fèrro del triangolo (It.). Metal triangle beater. ferrule. A metal cap found on the butt end of marching snare drum sticks during the 19th and early 20th centuries. The ferrule is often made of brass or steel, but for presentation sticks it could be either made of silver or silver plated.
ferry boat whistle. A foghorn imitation. See traps. Fesselstabreibtrommel (Ger.). Friction drum with fixed stick. See güiro. Feutre (Fr.). Felt. fiberglass. A synthetic material made of glass fibers and plastic. Used in the construction of drum shells and keyboard percussion instrument bars. FiberSkyn heads. Trade name by Remo Inc. for batter heads made with a coated layer resembling the feel and sound of calf skin. fibra (Sp.). Fiber. fibre case. A drum, stick, or other percussion instrument case made of reinforced fiber board, which makes them ineffective in heavy rain or when wet. The lid is usually attached and held in place by webbed straps with a buckle. fibre flat washer. An insulating washer used on early timpani T-rods. Being slightly flexible, the fibre flat washer allows the rod to easily turn when under extreme pressure of the head tension. fibru tessile (It.). Yarn. field drum. A deep snare drum often used in military or rudimental music. The field drum is usually equipped with gut or heavy wire snares. Also known as side drum or parade drum. fieltro (Sp.). felt. fifteen-stroke roll. A standard drum rudiment consisting of seven double strokes followed by a single stroke (LLRRLLRRLLRRLLR) for a total of 15 sounds. See rudiments and appendix N, “PAS 40 International Drum Rudiments.” fight gong. A steel bell used at the beginning and end of rounds during a boxing match. The fight gong is usually mounted and struck with a metal hammer or beater. Also used as a fire bell.
fight gong bell tree. A collection of fight gongs ordered from high to low in pitch, either mounted on a spindle or laid flat. fil (Fr.). Thin stick or wire rod. filato (It.). Yarn. file. A metal or wood rasping tool. It is carefully drawn against the edge of a cymbal for a special scraping effect. fill (Fr.). Thread, string, or yarn. fill (drum chart). A short improvised solo on drum set when others in a band are inactive. A fill usually occurs at the end of a phrase in order to prepare the ensemble for the entrance of the next phrase of music. See appendix L, “Notation for Drum Set.” filo (Fr.). Thread or yarn. Filz (Ger.). Felt. Filzschlegel (Ger.). Felt-headed stick. fin (Fr.). End. fine tuner. A mechanical tension adjusting device installed on high-quality timpani. Fine tuners allow a player to raise or lower the pitch of the drum by hand on a pedal-tuned timpani. finger bell. See desk bell. finger control. A technique for drumming where the motion of the stick is executed with only the fingers or with the fingers as the primary part of the hand moving the stick. Finger control is used for rapid execution of single strokes. finger cymbals. Small brass cymbals, two to three inches in diameter, that are played by striking the edges together or by striking a single cymbal with a hard beater. Also known as non-pitched antique cymbals. See also zils and antique cymbals.
finger roll. A technique used to sustain the sound on a tambourine or drum by rubbing a finger on the head to create friction. See also thumb roll. Fingerbecken, Fingercymbeln (Ger.). See finger cymbals. fingers. A direction to play an instrument with fingers. Fingerspitzen (Ger.). Fingertips. fingertip tone regulator. See internal tone control and internal muffler. Fingerzimbeln (Ger.). See finger cymbals. finish. The final color or design of wrap on the outside of a drum shell, bowl, or hardware. Common metallic finishes are chrome, nickel, and brass. Fink, Siegfried (Feb 8, 1928–May 3, 2006). Elected to the Percussive Arts Society’s Hall of Fame in 2003 in the categories of author, composition, education, orchestral, publishing, recording artist, and sound engineer, Siegfried Fink is best known for his untiring effort to promote percussion on all levels of music via his position as professor at the University of Music at Wurzburg in West Germany, which, through his teaching and publications, allowed him to influence the future of percussion and modern music throughout Europe and the world. See PAS Hall of Fame. For a full biography, visit www.pas.org. fire bell. A bronze or steel bell struck by a hammer or metal striker and used as an alarm bell. Also known as a fight bell. fire engine. An instrument that imitates the sound of a fire engine bell or siren. See traps. fire engine gong. An instrument that imitates the sound of a fire bell. Usually a bell plate. See traps. fire engine whistle. A whistle that imitates the siren of a fire engine siren. Usually a klaxon or a police whistle if before the turn of the 20th century. fire gong. See fire bell or bell plate.
Firth, Vic (Jun 2, 1930–Jul 26, 2015). Elected to the Percussive Arts Society’s Hall of Fame in 1995 in the categories of author, composition, education, industry, inventions, orchestral, radio/television, recording artist, and timpani, Vic Firth is best known for his contribution as timpanist with the Boston Symphony Orchestra and for founding his company, Vic Firth Inc., one of the largest drum stick manufacturing companies in the world. See PAS Hall of Fame. For a full biography, visit www.pas.org. fischi d’uccelli (It.). See bird call. fischiétto (It.). See whistle. fischiétto a pallina (It.). See pea whistle or police whistle. fischio (It.). See whistle. fischio d’uccello (It.). See bird whistle. fischio sirèna (It.). See siren whistle. fishing reel. A mechanical fishing reel that is spun as a sound effect. fissato (It.). Fixed or attached. fittings. Small hardware parts that attach to a drum, such as tension casings, or parts that are used as holders. five-stroke roll. A standard drum rudiment consisting of two double strokes followed by a single stroke (LLRRL, RRLLR), resulting in a total of five strokes. See rudiments and appendix N, “PAS 40 International Drum Rudiments.” five-stroke ruff. A standard drum ornament consisting of four grace notes and a single stroke, all executed with alternating strokes (rlrlR, lrlrL). Because the five-stroke ruff is technically difficult, players often incorporate alternative stickings that use some double strokes when necessary. See rudiments and appendix N, “PAS 40 International Drum Rudiments.” fixée (Fr.). Fixed or attached.
flagéllo (It.). See whip or slapstick. flam. A standard drum rudiment consisting of a single grace note followed by a main note, executed with alternating sticks (rL, lR). See rudiments and appendix N, “PAS 40 International Drum Rudiments. flam paradiddle. A standard drum rudiment consisting of a paradiddle with a grace note preceding the first note. See rudiments and appendix N, “PAS 40 International Drum Rudiments.” flam rudiments. Any rudiment that contains a flam. This is a category not only of standard rudiments, but also of compound or hybrid rudiments. See rudiments and appendix N, “PAS 40 International Drum Rudiments.” flamacue. A standard rudiment that consists of five even, alternating notes, with single grace notes added to the first and last note and an accent on the second note. See rudiments and appendix N, “PAS 40 International Drum Rudiments.” flammed roll. A roll that begins with a flam for greater emphasis at the start of the sound. Flanellscheibenschlägel (Ger.). Flannel-covered mallet. Flanellschlägel (Ger.). A type of timpani mallet constructed with many layers of flannel stacked on top of each other. Used extensively in Germany. flapamba. A large lamellaphone with wooden bars mounted over a resonator box. Tuned chromatically, the tone of a flapamba is a cross between a marimba and log drums with a range of C3 to C5. flaques sonores (Fr.). A sonorous slapping sound on water. Flaschenkorkenknall (Ger.). A cork pop sound, such as that which occurs when a champagne bottle is opened. See pop gun. Flaschenspiel (Ger.). See tuned bottles. flash lamp. A theatrical device used to generate a bright flash of light, imitating lightning or a camera flash. Also known as a lycopodium.
Flat Jacks. A brand of drums with narrow shells and a single head for facilitating the transportation of a drum set and for ease of carrying in a marching band. Built in the 1960s, the marching drums had a single spindle carrier that allowed a player to spin the entire drum on the spindle while marching. flauta a culisse, flauto a culisse (Sp., It.). See slide whistle. flesh hoop. A hoop of metal or wood around which a drum head is lapped, glued, or crimped. The flesh hoop provides a stable surface against which the counterhoop presses in order to tension the head.
flessatono (It.). See flexatone. Flexaton (Ger.). See flexatone. flexatone, Flex-a-tone. An idiophone composed of a length of spring steel mounted on a wire handle to which is attached two wooden ball strikers. As the instrument is shaken, the balls strike the steel in rapid succession. A player is able to change pitch by pressure of the thumb on the spring steel, creating a glissando effect.
flight case. A metal and wood case, reinforced on the outside and padded on the inside, used to safely transport musical instruments. Flight case interiors are usually custom designed to fit each specific instrument. Also known as an ATA (Airline Transportation Authority) case or road case, these are highly durable and water resistant.
floating heads. A drum head with significant clearance beyond the width of the drum shell, allowing the head to freely move as its tension is adjusted. floating swivel nuts. Receiver nuts mounted in the tension casing (lug casing) in a manner that allows them to move to be perfectly aligned with a tension rod. floor pedal. A pedal mechanism that sits on the ground and is played by a foot. Floor pedals are common with drum sets and used for playing bass drum, hi-hat, and cowbell. floor stand. A stand that sits on the ground, as opposed to being mounted on a rack or attached to a holder on a drum. floor tom. A large tom, usually having three legs, that sits on the floor as part of a drum set. A floor tom is usually placed on the player’s side opposite the hi-hat. flower drum. A large, double-headed barrel drum from Thailand, Laos, and Cambodia that has a flour paste applied to the center of each head. Set
horizontally, the flower drum is played with the fingers and hands as part of the pī phāt ensemble. flush legs. Hardware legs that, when extended from the center post of the stand, lie flat against the floor, rather than in an angular tripod configuration. fly wheel. A large steel disc with a center hole and cogs around the circumference that allows the starter motor to turn the engine’s crankshaft on an automobile. The fly wheel is either laid flat or suspended and struck with hard beaters or hammers to create ringing metal sounds, similar to an anvil. When suspended, it can be rotated for a loud vibrato effect.
flybuzz. An instrument that imitates the buzzing of a fly. See traps. fly-killer brushes. The earliest design for brushes, having a fan of metal wire protruding from a handle. See brushes. fog horn, foghorn. An instrument or device that imitates a ship or lighthouse horn. See traps.
foglie di rame (It.). Metal wind chimes. foglie die rame col mano (It.). Metal wind chimes struck with hand. foglio di metallo (It.). See foil rattle. foil rattle. A sheet of flexible sheet metal, often tin, that is shaken to produce a rattling sound. See thunder sheet. folding bass drum. See collapsible bass drum. folding bass drum spur. A bass drum spur that folds sideways against the shell when not in use.
fonica. An instrument invented by Orsi, it consists of small pieces of metal in a resonating box. When struck gently and rapidly with a special beater it creates a fast vibrato with all of the notes mixing together and produces a unique, impressionistic sound. foot bell. A two-pitched bell formerly used as a foot-operated car bell for taxis in India. The interval of the pitches is a major third. foot control snare muffler. A device operated by the foot that disengages and engages the snares. foot cymbals. See hi-hat and low boy. football rattle. A plastic child’s toy in the shape of a football with internal plastic pellets. footboard. The board or plate on which the player places his foot for a bass drum or hi-hat pedal. Footboards can either be one piece, or split into two pieces, with the break near the front of the heel of the foot. footed drum. A cylindrical drum cut from a log that has, usually, three extended sections on the bottom of the shell that serve as feet. footplate. See footboard. fouet (Fr.). See whip or slapstick. fouetter (Fr.). To strike or to whip. four on the floor. Slang for playing all four quarter notes in common time continuously on the bass drum of a drum set. Primarily applied when playing jazz music. four-mallet grip. A manner of holding four mallets in two hands. Primarily used when performing on a keyboard percussion instrument, the fourmallet grip is also used for quick mallet changes on one or more instruments as well as for performing music for multiple-percussion setups. four-row xylophone. A chromatic xylophone with the bars arranged in four rows. Popular in Europe during the 19th century and the first two decades of
the 20th century. See xylophone. four-tone wood blocks. A set of four graduated in size woodblocks mounted together on a holder. Used in early jazz music. four-way coordination. A technique whereby all four limbs are developed to have equal and independent, coordinated technique on a drum set. fox call. An instrument that imitates the sound of a fox. See traps. frame drum. A single-headed drum on a narrow-depth shell. Usually played by the fingers and hands, though sometimes sticks, beaters, or mallets are used. When jingles are attached to a frame drum, it either becomes, or is similar to, a tambourine. Fr. tambour sur cadre; Ger. Rahmentrommel or Tamburin ohne Schellen; It. tamburino senza cimbali. frame rattle. A rattle with jingles, discs, or other objects mounted inside a wood or metal frame with a handle. See sistrum. frappé, frappée (Fr.). Struck. frapper (Fr.). Strike or hit. frappez (Fr.). To hit or to strike. fregare (It.). To rub or to strike. frei Becken (Ger.). Free cymbal or suspended cymbal. freight elevator imitation. See elevator imitation. freihängend (Ger.). Freely suspended or suspended cymbal. freihängend mit Schwammschlägel (Ger.). Suspended cymbal with a soft mallet. French cymbals. A pair of thin to medium-thin weight hand or crash cymbals, used for French orchestral literature. French flam. Though performed the same as an American flam, the notation for this appears as a note head with two stems, one up and one down. See flam.
French grip. A method of holding mallets or sticks, usually for timpani, with the shaft held between the thumb and first finger and the thumb positioned on top of the stick. See grips and timpani grips. friction clutch pedal. A mechanism where tension is maintained on a head by means of a spring-activated, locking clutch around a post. The clutch is held in place on the post by friction. friction drum. A drum sounded by friction on or against the head with a string, cord, stick, fingers, or SuperBall. See lion’s roar and cuíca. friction roll. See thumb roll and finger roll. Friese, Alfred Paul (Nov 7, 1876–Jul 1971). Elected to the Percussive Arts Society’s Hall of Fame in 1978 in the categories of author, orchestral, and timpani, Alfred Friese is best known as timpanist first with the Philadelphia Orchestra and then the New York Philharmonic Orchestra and for establishing a timpani school that trained an entire generation of timpanists who held positions in major orchestras throughout the world. See PAS Hall of Fame. For a full biography, visit www.pas.org. frigideira (Por.). A resonant, steel frying pan, used in Brazilian samba music. frikyiwa (Af.-Akan). African, metal castanets, usually made from iron. The bell part, worn on the middle finger, is struck by an iron ring worn on the thumb. Frisco Song Whistle. See slide whistle. frog. An instrument used to imitate the sound of one or more frogs. The same instrument is a Waldteufel. See frog honk. frog drum. See bronze drum. frog honk. A small length of bamboo with a lengthwise slit. When blown through the slit horizontally it produces the honk of frogs native to Bali. frôler (Fr.). To graze or to brush against. front ensemble, front line ensemble. A collection of percussion instruments placed at the front of a football field by marching bands or drum corps.
Also known as a pit ensemble. frottées (Fr.). To rub or strike together. frotter (Fr.). To rub or to strike. frullo (It.). See friction drum. frusta (It.). See whip or slapstick. frying pan rattle. A rattle made from two metal frying pans welded together with shot or metal beads inside. frying pans. Metal cooking pans that give a gong-like sound when struck on the bottom. FT, ft, F.T., f.t. Abbreviation for floor tom. fulcrum point. The place on a stick, mallet, or beater where the grip contacts the stick with the thumb and one finger in order for one end of the stick to rise as the other falls. full dress. Highly decorated drums of the 1920s and 1930s. The decorations included elaborate glitter patterns on the shells and gold plating on the hardware. full stroke. A stroke that begins and ends at the same point, usually rising as far as the wrist will allow the stick to move. fungador. Afro-Brazilian drum. furitsuzumi. A small, double-headed Japanese drum on a handle. Two strings, each with a wooden ball, are attached to the shell, and when rotated, strike the drum heads. Same as a monkey drum. furruco. A large friction drum from Venezuela. Fusßbecken (Ger.). See hi-hat. Fußschlegel (Ger.). See bass drum pedal.
Fußsmaschine (Ger.). See bass drum pedal. Fußstimmvorrichtung (Ger.). See pedal timpani. fusta (Sp.). See whip or slapstick. fusto (It.). (1) Handle. (2) Body or shell of a drum. fusto in giunco (It.). Cane handle. fût (Fr.). Drum shell or timpani bowl.
G g. (Fr.). Abbreviation for gauche, left hand. G.C. e P. (It.). Abbreviation for bass drum and cymbals. G’se Caisse (Fr.). Abbreviation for bass drum. Gabelbecken (Ger.). Cymbal tongs or metal castanets. Gaber, George (Feb 24, 1916–Nov 21, 2007). Elected to the Percussive Arts Society’s Hall of Fame in 1995 in the categories of education, orchestral, radio/television, recording artist, and timpani, George Gaber is best known for his teaching career at Indiana University–Bloomington. See PAS Hall of Fame. For a full biography, www.visitpas.org. Gadd, Steve (b. Apr 9, 1945). Elected to the Percussive Arts Society’s Hall of Fame in 2005 in the categories of band leader, composition, drum set, education, radio/television, and recording artist, Steve Gadd is best known for his inspirational recordings as a studio drummer with such artists as Paul Simon, Chick Corea, and Steely Dan. See PAS Hall of Fame. For a full biography, visit www.pas.org. gagaku. Japanese court music that began as early as the 8th century. gagaku drum. A double-headed Japanese drum. galloping horses. See horse hooves. gambang. A wood, bamboo, or metal xylophone used in Indonesian gamelan orchestras. game call. Bird call. See traps. gamelan. An orchestra of Java, Bali, and Indonesia composed of tuned gongs, metallophones, drums, and xylophones. In some regions, string or wind instruments are also included.
gamelan gong. A tuned metal gong with a raised boss in the center that is used in gamelan orchestras. gangária. Cuban or Latin American cowbell. gankogui (Af.-Ewe). African double bell made of iron. Agogo bells are derived from this instrument. ganugbagba (Af.-Ewe). A metal bucket played with two wooden drum sticks. It functions as a bell in African music. ganzá (Por.). Tubular metal shaker used in Brazilian samba music. Garibaldi, David (b. 1946). Elected to the Percussive Arts Society’s Hall of Fame in 2012 in the categories of author, composition, drum set, education, radio/television, and recording artist, David Garibaldi is best known for his powerful linear drumming style with groups such as Tower of Power. See PAS Hall of Fame. For a full biography, visit www.pas.org. gariglione (It.). See carillion bells. Garn (Ger.). Yarn or thread. garnies (Fr.). A generic term for coverings or wrappings. Garnschlegel (Ger.). Yarn mallet. gas alarm ratchet. Large wooden ratchet or rattle used during World War I. gas motor effect. An instrument that imitates the sound of a chugging car or boat engine. See traps. gate closing effect. An instrument that imitates the squeaking and slamming sounds of an outdoor gate. See traps. gauche (Fr.). Left. gauge. A unit of measure for the thickness of sheet metal. It is used to establish the strength of metals used for metal drum shells or hardware. Each type of metal has its own unique system of numbers.
gayumba. A musical bow from the Dominican Republic. gazza (It.). Magpie. gear effect (imitation). An instrument that imitates the sound of metal gears or chains turning. See traps. Gebetsglocke (Ger.). See prayer bell and temple bell. ged., Ged. (Ger.). Abbreviation for gedampft, Gedampft. gedampft, Gedampft (Ger.). Dampened, muted, or muffled. This is a direction to (1) play with a muffler or mute on the head; or (2) turn the snares off. If capitalized (a noun), it refers to the physical mute or muffler. gedampft mit einem Seidentuch uberdeckt (Ger.). Covered and muffled with a piece of cloth. Gefäßrassel (Ger.). See rattle and maracas. Gegenschlagblöcke (Ger.). See concussion blocks. Gegenschlagstabschen (Ger.). See concussion sticks and claves. geläute (Ger.). The ringing of bells. This may be church bells, herd bells, Almglocken, or cowbells. genau im Rhythmus (Ger.). Exactly in rhythm. gendang. A double-headed drum found in Indonesia and Malaysia. gender. A single-row metallophone used in the gamelan orchestras of Bali and Java. It is played seated, with an ornately carved frame. genou (Fr.). Knee. geophone. A large, double-headed frame drum filled with metal shot or other small beads. When held flat and tilted in an oscillating manner, the beads create the sound of ocean waves, the running of water, or sand blowing. Also known as an ocean drum.
Gepolsterterhammer (Ger.). Wrapped mallet. German grip. A grip where the palms of the hand face downward when playing timpani. Same as matched grip. See timpani grips. Germanic cymbals. A pair of heavy-weight hand or crash cymbals, used for orchestral literature by Wagner and other 19th-century German composers. geschlagen (Ger.). Struck. Gestell (Ger.). Frame of a keyboard percussion instrument. gestrichen (Ger.). Stroked or rubbed. gewehnliche Schlägel (Ger.). Ordinary sticks or whatever sticks one would normally use. Gewirbelt, gewirbelt (Ger.). A drum roll or rolled. gewohnlich (Ger.). Usual or ordinary. A direction to play the instrument in the normal manner. gewöhnlich schlagen (Ger.). Strike in the usual manner. gewöhnlicher Schlägel (Ger.). Strike with the normal beater. Ghana bell. African double bell made of iron. ghost notes. Lightly played, improvisatory notes heard between the main notes of a rhythm. This refers primarily to drum set performance practice, which often has a significant number of ghost notes in the right and left hands when playing time on the snare drum and a cymbal or hi-hat for a rock, funk, or jazz beat. ghunghura stick. Six large Indian bells mounted on a stick and shaken to the beat. ghuṅgrū. Small metal wrist or ankle bells worn by dancers of India and South Asia. Gibbs, Terry (Julius Gubenko) (b. Oct 13, 1924). Elected to the Percussive
Arts Society’s Hall of Fame in 2000 in the categories of band leader, composition, keyboard percussion, radio/television, and recording artist, Terry Gibbs is best known as a luminary jazz vibraphone artist and composer with songs recorded by such jazz artists as Count Basie and Nat King Cole. See PAS Hall of Fame. For a full biography, visit www.pas.org. gig. Slang term for a paid performance. gigelira (It.). Archaic term for the xylophone. gilim gilim. A bell tree used for Mardi Gras and parades in Brazil. gilt nicht (Ger.). Not genuine. ginòcchio (It.). Knee. This is usually a direction for the player to place a tambourine on the knee. Gitterrassel (Ger.). See Angklung. giunco (It.). Cane or rattan. Gladstone, Billy (Dec 15, 1893–Oct 4, 1961). Elected to the Percussive Arts Society’s Hall of Fame in 1978 in the categories of industry, inventions, orchestral, radio/television, and theater, Billy Gladstone is best known for his tenure as a percussionist for the Radio City Music Hall orchestra and as the inventor and manufacturer of the Gladstone Snare Drum. See PAS Hall of Fame. For a full biography, visit www.pas.org.
Gläserspiel (Ger.). See tuned glasses. Glasharfe (Ger.). See glass harp. Glasharmonika (Ger.). See glass harmonica. Glaspapier (Ger.). See sandpaper and sandpaper blocks. glass, to break. See glass crash. glass armonika. See glass harmonica. glass crash. (1) A direction to break panes of glass into a large tub or bucket. (2) An instrument that imitates the sound of glass crashing or breaking. See traps. glass glock, glass glockenspiel. A glockenspiel with glass bars. glass harmonica. Invented by Benjamin Franklin, the glass harmonica is composed of glass bowls or cups mounted on a rotating spindle or table. The
sound is produced by using friction of the fingers held against the edges of the bowls as they rotate via a mechanical foot pedal. Also known as glass armonika. Fr. armonica de ver; Ger. Glasharmonika; It. harmonica di vetro. glass harp. See tuned glasses. glass rattle. A rattle created from a lightbulb by covering it with papier-mâché and, when dried, crushing the bulb inside. glass wind chimes. Wind chimes made with thin plates, rods, or bars of glass. glasses, tuned. See tuned glasses. Glasspiel (Ger.). See tuned glasses. Glasstäbchen (Ger.). See glass wind chimes. Glasstäbe (Ger.). See glass wind chimes. Glas-windglocken (Ger.). See glass wind chimes. gleich abdämpfen (Ger.). Muffle quickly. Gleichgriff (Ger.). See matched grip. Glennie, Evelyn (b. Jul 19, 1965). Elected to the Percussive Arts Society’s Hall of Fame in 2008 in the categories of author, composition, education, keyboard percussion, radio/television, recording artist, and total percussion, Evelyn Glennie is best known as a total percussion soloist with major orchestras throughout the world. See PAS Hall of Fame. For a full biography, visit www.pas.org. gli uccelli (It.). See bird whistle. gliss. auf einer Kesselpauke (Ger.). Glissando on the timpani. gliss. sur les tranches (tige de métal) (Fr.). Glissando on the surface (with a metal stick). gliss. touches blanches (Fr.). Glissando on the white keys.
glissando, glissandi (It.). A rapid change of pitch or pitches, usually with a beginning and/or ending pitch notated. On timpani, it is executed by striking the drum and moving the pedal, or by continuously rolling as the pedal is moved. On keyboard percussion instruments, it is created by sliding the mallet across the bars while maintaining an appropriate amount of pressure to make the bar sound. Glissando auf den Metallrohren (Ger.). Glissando on the metal resonators. Glissando auf den Schwarzentasten (Ger.). Glissando on the black keys. glissando avec le lever, glissando avec pédale (Fr.). Pedal glissando on timpani. glissando colla pedale (It.). Pedal glissando on timpani. glissando le taste nere (Fr.). Glissando on the black keys. glissando mit Pedal (Ger.). Pedal glissando on timpani. glissando sui risonatori (It.). Glissando on the resonators. glissando sur les tuyaux metalliques (Fr.). Glissando on the metal resonators. Glissandotrommel (Ger.). A large, teardrop-shaped bass drum that produces a constant change of relative pitch as it is played from end to end. glissez les touches noires (Fr.). Glissando on the black keys. glissez sur les resonateurs (Fr.). Glissando on the resonators. Glöckchen (Ger.). Tubular bells. See chimes. Glocke (Ger.). A single chime note. See bell. Glocken (Ger.). See chimes. Glockenartig (Ger.). Bell-like or like a bell. Glockenhammer (Ger.). Chime mallet. Glockenplatten (Ger.). See bell plates.
glockenspiel. A keyboard percussion instrument with steel or aluminum bars. It sometimes designates bell lyra if used in military music. Also known as orchestra bells, or just bells in symphonic band music. Fr. jeu de timbres; Ger. Stahlspiel; It. campanelli; Sp. timbres.
glockenspiel à clavier (Fr.). keyed glockenspiel. glockenspiel mallets. Mallets or beaters designed to play on a glockenspiel or set of orchestra bells.
Glockenspiel mit Tasten (Ger.). See keyed glockenspiel. Glockenspiele in Lyraform (Ger.). See bell lyra. glopé (Sp.). Castanet stroke consisting of a single pair played once with the finger. goblet drum. A single-headed drum with a shell shaped like a goblet, having a wide head and narrow body. These drums are common to Arab cultures and the Middle East. See darabukka. gog. Guatemalan marimba.
Goldenberg, Morris (Jul 28, 1911–Aug 7, 1969). Elected to the Percussive Arts Society’s Hall of Fame in 1974 in the categories of author, education, orchestral, and radio/television, Morris Goldenberg is best known as a New York City percussionist on the staff of NBC-TV and as a professor at the Juilliard School of Music where he authored several method books. See PAS Hall of Fame. For a full biography, visit www.pas.org. goma (Sp.). Gum or rubber. gómma (It.). Gum or rubber. gomme (Fr.). Gum or rubber. gong. An idiophone constructed from metal in the shape of a round disc, and having a definite pitch. It may have a flat surface, or have a boss (button or nipple) in the center. The terms tam-tam and gong are often used as interchangeable terms so care must be used in identifying the correct instrument. The tam-tam is of indefinite pitch. The pitch of a gong can be altered or fine-tuned by adding clay or beeswax to the inside of the boss. Gongs usually produce clear fundamental tones when struck on the boss. gong, water. See water gong. gong à mamelon (Fr.). See button gong. gong ageng. A large Javanese gong used in the gamelan orchestra. gong chimes. A pitched set of graduated button gongs found in Indonesian gamelan orchestras. See Kong Wong Yai. gong cinesi (It.). Chinese gong. gong drum. A large single-headed bass drum having a narrow shell or steel hoop as a frame. gong giapponése (It.). Japanese gong or button gong. gong giavanése (It.). Javanese gong or button gong. gong metal. A specific blend of metal to create the bronze used in making
gongs. There are two traditional classifications of the metal, Toll Lor and So Lor, which mean cheap metal and good metal. gongo (Sp.). See gong. gongon (Af.-Dag.). A large, double-headed, cylindrical talking drum. The two heads, each with a single snare, are connected by cords that are squeezed to change the pitch. It is struck with a curved wooden stick. Also known as an abrekete. gongon (Por.). Afro-Brazilian drum. Gongstrommel (Ger.). See steel drum. Goodman, Saul (Jul 16, 1907–Jan 26, 1996). Elected to the Percussive Arts Society’s Hall of Fame in 1972 in the categories of author, education, orchestral, radio/television, and timpani, Saul Goodman is best known for his position as a timpanist with the New York Philharmonic and for his teaching at the Juilliard School of Music where he prepared an entire generation of timpanists for their careers in orchestras throughout the world. See PAS Hall of Fame. For a full biography, visit www.pas.org. goose call. An instrument that imitates the sound of a goose honk. See traps. gooseneck cymbal arm. A length of pipe or rod bent into a semicircle with a curved hook on the end. This is placed in a stand base and cymbals are hung from it using a leather cymbal handle or strap. Also known as a swan neck. goumbe. A large, African, single-headed hand drum carved from a tree trunk. It is similar to a conga, but is rope tensioned. gourd. The dried rind of a fleshy fruit such as a calabash. Gourds are used to make rattles, resonators, shakers, and scrapers. gourd drum. A drum made from a calabash. A gourd drum is struck, slapped, or filled with water to create various timbres. gourd güiro. See gourd scraper. gourd in water. See gourd water drum.
gourd marimba. A handmade Guatemalan or African marimba constructed with gourds as resonators. gourd rattle. A calabash gourd that is allowed to dry with the seeds remaining inside. gourd scraper. A hollow calabash gourd with notches or ridges carved in the body. It is scraped with a sometimes tapered stick. See güiro. gourd water drum. A hollow gourd cut in half and floated upside down in a tub of water. The gourd is struck with a wooden spoon or small stick. See water drum. gourd xylophone. An African xylophone constructed with gourds as resonators. goyom. Guatemalan Indian term for marimba. gr. caisse (Fr.). Abbreviation for grande caisse or bass drum. gr. Tr. (Ger.). Abbreviation for grosse Trommel or bass drum. gr. Trommel u. Becken zusammen (Ger.). Bass drum and cymbals together. See bass drum with attached cymbal. gràcido di ànitra (It.). See duck call (quack). grage. A guiro-type gourd scraper from Haiti. gran cassa (It.). See bass drum. gran cassa a una pelle (It.). A single-headed bass drum or gong drum. gran cassa e piatti (It.). See bass drum and crash cymbals. gran tamburo (It.). See bass drum. gran tamburo vecchio (It.). Deep snare drum or long drum. grand tambour (Fr.). Deep snare drum or long drum. See bass drum.
grande (Fr., It.). Large or big. grande cloche (Fr.). Large church bell or steeple bell. grande cloche grave (Fr.). Large bell with a low pitch. grass harp. Savannah grass mounted in a tension frame. When stroked it produces the sound of wind-blown grass. grave (Fr.). Bass, or low in pitch. gravity chime. A boxed set of brass finger cymbals sounded by the dropping of small metal beads from the inside lid of the box. The inside lid is coated with a sticky substance that allows each bead to randomly fall. To reset the chime after all beads have fallen, one turns the entire box upside down to allow the beads to be re-stuck to the adhesive. grease-proof paper. Paper used to pack meat or foods. This paper produces a variety of sounds when shaken or crinkled. Greek cymbals. Small, tuned cymbals or crotales. Greeko cymbals. Small cymbals (four inches in diameter) made of steel that are attached to the rim of a snare drum and used for a jazz effect. Green, George Hamilton (May 23, 1893–Sep 11, 1970). Elected to the Percussive Arts Society’s Hall of Fame in 1983 in the categories of composition, keyboard percussion, and recording artist, George Hamilton Green Jr. is best known as the most virtuosic xylophone performer in the modern history of the instrument, bringing it from a novelty instrument to equal status with other instruments in the orchestra. See PAS Hall of Fame. For a full biography, visit www.pas.org. grelots (Fr.). See sleigh bells and pellet bells. grelots de vaches (Fr.). See cowbell. Gretsch. Founded by Friedrich Gretsch in 1883, Gretsch has produced highquality drums and other instruments for over 130 years. Its most well-known model name is the Broadkaster, and the company is well known for having
sold drums designed by Billy Gladstone, which incorporated his innovative three-way tuning system. The company is now owned by DWdrums (Drum Workshop). Griff (Ger.). Grip or handle of a stick or mallet. Griffklapper (Ger.). See slapstick. grijutians. Mexican term for jingles. Grips. The manner in which a player holds a stick, beater, mallet, or hammer. See timpani grip, Burton grip, matched grip, Musser grip, Stevens grip, French grip, German grip, traditional grip, and cross grip. Groove Wedge. Trade name for a curved, wooden accessory added to the outside of a batter hoop or rim to provide an adjustable surface for performing a stick knock. grosse, große (Ger.). Large or big. grosse caisse (Fr.). See bass drum. grosse caisse à pédale avec cymbals décrochable (Fr.). Bass drum played by a foot pedal with a detachable cymbal striker. grosse caisse à pied avec cymbals (Fr.). Bass drum played by a foot pedal with a cymbal striker. grosse caisse à une secule peau (Fr.). Single-headed bass drum or gong drum. grosse caisse associée avec les cymbales (Fr.). See bass drum with attached cymbal. grosse caisse avec pedale (Fr.). Bass drum played with a foot pedal. grosse Rührtrommel (Ger.). Large tenor drum. grosse Trommel (Ger.). See bass drum. grosse Trommel mit aufgeschnalltern Becken (Ger.). See bass drum with attached cymbal.
grosse Trommel und Becken (Ger.). See bass drum and crash cymbals. grosse Trommelstock (Ger.). Bass drum beater. See bass drum mallets. grosses Klappholz (Ger.). Large wooden clappers. grzechotka (Pol.). See rattle. guachara. Indo-Panamanian term for güiro. It is a notched stick played by scraping. guacharaca (Sp.). A Colombian güiro. guajey. A large maraca-type rattle that is struck on the ground in the Dominican Republic. gualambo (Sp.). A musical bow. See berimbau. guárara (Por.). Brazilian scraper. Guatemalan marimba. A marimba that is handmade entirely from wood and has resonators made from gourds with a buzzing membrane. See marimba con tecomates. guayo. A güiro-type gourd scraper or ratchet from the Dominican Republic. guero. See güiro. guild. An organization of trained professionals. See Drummers’ Guild. guimbarde (Fr.). See jew’s harp. guira. See cabasa. güiro. A Latin American scraper made from a long, tube gourd with ridges carved transversely in the body on one side. It is scraped with a thin, sometimes tapered, stick. Modern, more durable instruments are made from plastic, and any hollow-bodied object is often used to produce uniquesounding güiros.
güiro woodblock. A woodblock with grooves running the length on the surface to produce a rasping effect. guirro (It.). See güiro. guitcharo. Latin American gourd scraper. Gummi (Ger.). Rubber. Gummikopfschlegel (Ger.). Rubber-headed mallet. gunshot, gun shot. See pistol shot. gut gestimmt (Ger.). Short, well dampened. gut snares. See snares. guyada (Sp.). Jawbone of an ass. See quijada. gyil (Af.). See balafon. gyorsan (Hun.). To dampen or muffle.
H halb zur Mitte (Ger.). In the middle. halbharte (Ger.). Medium-hard. Halbmond (Ger.). See Turkish crescent. Haltegriff (Ger.). Mallet handle. hammer. Metal, rawhide, nylon, or wood mallet with large heavy head used for brake drums, anvils, chimes, or wooden boxes or planks. The largest are used for the hammer blows of Mahler. Fr. marteau; Ger. Hammer; It. Martello.
hammerings. See stickings. hammers. Late 19th-century and early 20th-century term for mallets or beaters used on keyboard percussion instruments. hammer-wood. British for xylophone. hampe (Fr.). Mallet handle. Hampton, Lionel (Apr 20, 1908–Aug 31, 2002). Elected to the Percussive Arts Society’s Hall of Fame in 1984 in the categories of band leader, drum set, keyboard percussion, and recording artist, Lionel Hampton is best known as for his extensive live and recorded performances on vibraphone while leading his own bands. See PAS Hall of Fame. For a full biography, visit www.pas.org.
Hand, Händen (Ger.). Hand, hands. hand bells, handbells. Pitched bells that are individually mounted on a handle and have an internal clapper. Usually made of brass, they are performed by one or more players. Commonly used by an entire hand bell choir where each player actuates from one to several bells at the designated time for the assigned pitches. hand clogs. Pair of heavy jingle sticks played on a drum, hoop, wood box, or floor to imitate tap dancing. hand cymbal holder. A wood handle having a leather or web strap on the outside. Bolted to hand cymbals, it provides a more stable grip with less fatigue that just a cymbal strap. hand cymbals. A pair of cymbals held one in each hand and struck together. See crash cymbals. hand drum. A single-headed or double-headed drum of any depth shell played by striking the head or shell with the hands and fingers. hand pan. See hang. hand snare drum. Small, single-headed frame drum with short springs underneath the head that act as snares. It is held by an attached handle and struck with one hand or stick. hand-cranked linguaphone. Music box operated by a hand crank. Handflächen (Ger.). Palms of the hand. Handglocke (Ger.). A single hand bell. Handglockenspiel (Ger.). See hand bells. hand-hammered. Method of manufacturing metal instruments. Most often used on cymbals, gong, and copper bowls for timpani. handle castanets. See castanets.
Handratsche (Ger.). See ratchet. hand-screw timpani. See hand-tuned timpani and timpani. handsock. Small pair of cymbals mounted on scissor-style handles and played with one hand. It emulates an early sock cymbal. See hi-hat. Handtrommel (Ger.). See hand drum. hand-tuned timpani. Timpani tuned by turning each T-handle tension rod, chain mechanism, or cable mechanism by hand rather than a foot pedal. Hanfschlegel (Ger.). Yarn mallet. hang, hang drum. A hand-struck idiophone made from steel. It is designed on the principles of a steel drum. Sometimes called a hand pan, it has a closed spherical body with inverted-sounding mounds on the top. Several different tunings exist, as well as model names, such as the Hang, Spacedrum, and Halo. Hängebecken (Ger.). Hanging or suspended cymbal. hängend (Ger.). Hanging or suspended. hängende Becken (Ger.). Hanging or suspended cymbals. hanging board. See sēmantron. hanging tom. A mounted tom or rack tom on a drum set. hardware. Stands, mounts, clips, holders, brackets, racks, and stools used in the suspension or assembly of instruments or percussion setups. hardware bag. A container made primarily of a flexible material, such as cloth, canvas, vinyl, or leather, which is used to store and transport hardware. A hardware bag is usually closed by means of a strong zipper, has several handles or straps, is often constructed with several exterior pockets, and sometimes has wheels attached to a solid base. hardware case. A nonflexible container made of wood, plastic, fiberboard,
metal, or any combination of these materials, which is used to store and transport hardware. A hardware case is often reinforced at the corners, can be closed with straps or latches, is constructed with several handles, and usually has two or more wheels depending on the size of the case. harmonica. See glass harmonica. harmonica de bois (Fr.). See xylophone. harmonica de Franklin (Fr.). See glass harmonica. harmonica de madera (Sp.). See marimba. harmonica de verre (Fr.). See glass harmonica. harmony rattle (spark shaker). Invented by Bill Saragosa, this is a hand-sized, clam-shaped, metal shaker with perforations that is filled with metal pellets. The pitch and timbre are easily altered or manipulated by pressure of the hand and fingers around the instrument. harness. A carrying device or strap for drums or other percussion instruments while marching or standing to play. harness bells. Small pellet bells mounted in rows on a leather or plastic strap. See sleigh bells. harpaphone. Steel bar keyboard percussion instrument with resonators. Manufactured by Leedy, it is similar to song bells, with a two-and-one-half octave range. harpe de verre (Fr.). See glass harmonica. Harr, Haskell (Jun 24, 1894–Sep 24, 1986). Elected to the Percussive Arts Society’s Hall of Fame in 1972 in the categories of author, education, radio/television, and rudimental, Haskell Harr is best known as the author of graded method books for rudimental snare drumming. See PAS Hall of Fame. For a full biography, visit www.pas.org. Harrison, Lou (May 14, 1917–Feb 2, 2003). Elected to the Percussive Arts Society’s Hall of Fame in 1985 in the categories of composition and ethnic,
Lou Harrison is best known in the percussion field for his percussion ensemble compositions based on Eastern tunings and rhythmic concepts, as well as his influential collaborations with John Cage. See PAS Hall of Fame. For a full biography, visit www.pas.org. hart (Ger.). Hard (often a mallet designation). hart (dünne Stöcke) (Ger.). Hard (thin stick). Hart, Mickey (b. Sep 11, 1943). Elected to the Percussive Arts Society’s Hall of Fame in 2009 in the categories of author, band leader, composition, drum set, ethnic music, radio/television, and recording artist, Mickey Hart is best known as one of two drummers for the rock band Grateful Dead. See PAS Hall of Fame. For a full biography, visit www.pas.org. hart schlagen (Ger.). Hard hit. Hartgummischlagel (Ger.). Hard rubber mallet. Hartkautschukschlagel (Ger.). Hardest rubber mallet. hat. See Turkish crescent. hatbourine. A ching-a-ring, with jingles mounted in a straight line rather than on a circular plate. haut (Fr.). High. hauteur réelle (Fr.). Sounding at written pitch. Hawaiian slit drums. See toere. hay bale hook. Iron hook used to grasp bales of hay or cotton. Haynes, Roy (b. Mar 12, 1925). Elected to the Percussive Arts Society’s Hall of Fame in 1998 in the categories of band leader, composition, drum set, radio/television, and recording artist, Roy Haynes is best known as a versatile bop and swing drummer for such artists as Miles Davis, Charlie Parker, George Shearing, Chick Corea, Thelonious Monk, Stan Getz, and Pat Metheny. See PAS Hall of Fame. For a full biography, visit www.pas.org.
head. (1) The primary vibrating membrane for a drum. Prior to 1957, when Mylar was introduced as a viable product for use as a drum head, all heads were made from some type of animal hide or skin. Skins commonly used to come from the hide of a calf, cow, steer, sheep, goat, ox, deer, elk, or other mammals, as well as snake or fish skins. The finished skin, or head, can be mounted to the drum shell in a variety of methods, such as gluing, lacing, or tacking, as well as having the head mounted to a metal or wood ring called a flesh hoop. To mount a skin on a flesh hoop, it is necessary to lap the skin fully around the flesh hoop. Synthetic heads are mounted to a metal flesh hoop with either glue or a crimping process. A mounted head is then held to the shell of the drum be means of a counterhoop and tensioned by rope or metal tension rods. Today, synthetic heads of single or multiple plies of Mylar, as well as woven Kevlar, are most often used. However, calf skin heads remain popular for use on professional timpani, concert snare and bass drums, and most world-music hand drums, such as congas, bongos, and frame drums. (2) The enlarged or shaped end of a mallet, beater, or stick that strikes the surface of an instrument. See mallet.
head tucker. See lapping tool. heater, heating lamp. An internally mounted electric light used to dry calf skin heads while on a drum in humid weather conditions.
heaving the anchor. Imitative sound effect of an anchor’s chain being raised or lowered. See traps. Heerpauke (Ger.). Army drum. An archaic name for early European kettledrums or timpani used in military music and often mounted on horses. hemispherical bells. Pitched, chromatic bells, each in the shape of a half globe. They are usually mounted on a single or double post with spacers between them, but they can be mounted in any order or method. Often used for a glissando effect, they are similar to a bell tree and are struck or scraped with mallets. hemp cord or hemp rope. Rope woven from hemp and used for rope-tensioned drums. This was the most common type of rope used on rope drums until the mid-19th century when cotton and then synthetic ropes superseded the use of hemp. hen cackle. Instrument that imitates the sound of a hen. See traps. herd bells, herd cowbells. Metal animal bells with an internal clapper originally worn by cows, sheep, goats, and such in order to locate and identify the animals while grazing. See cowbell and Almglocken. Herdengeläute (Ger.). Herd bells. See cowbell and Almglocken. Herdenglocke (Ger.). Herd bell. See cowbell and Almglocken. Herdenglocken im Orchester (Ger.). Cowbells (Almglocken) in the orchestra, as opposed to backstage. Herdenglocken in der Ferne (Ger.). Cowbells (Almglocken) from a distance, usually played from backstage. Herman, Sammy (May 7, 1903–Apr 23, 1995). Elected to the Percussive Arts Society’s Hall of Fame in 1994 in the categories of keyboard percussion, radio/television, recording artist, and theater, Sammy Herman is best known for his virtuosic improvisations on the xylophone as a member of the NBC studios in New York City from 1928 to 1966. See PAS Hall of Fame. For a full biography, visit www.pas.org.
herunterstimmen (Ger.). Tune the pitch lower. hierro (Sp.). Iron. high boy, high-sock. Early terms for a hi-hat. high pitch. A=440 when a dual tuning system was used in the United States. See low pitch. high-hat. See hi-hat. hi-hat, hi hat, high-hat, high hat. Instrument having two small cymbals mounted horizontally facing each other and struck together by operating a foot pedal. Originally designed as a snow shoe pedal, the evolution of the instrument was at first low to the ground and called a low boy, sock cymbals, or Charleston cymbals, then mounted both vertically and horizontally and finally raised high enough to be struck by the player’s sticks and mallets. The top cymbal is mounted to a vertical rod by an adjustable clutch and operated by a hinged pedal at the base of the hi-hat stand. The hihat has many innovations including actuation by a remote cable, double sets of cymbals, numerous types of clutch designs, and methods of adjusting the tension and angles of the actuating spring mechanism and/or pedal.
Hi-hat Becken (Ger.). Hi-hat cymbal. hilft Almgl (Ger.). Help the Almglocken (player). hinged T-rod. A T-shaped timpani tension rod that pivots on the stem in order to fold down out of the way of a player’s stick path. See tension rods.
Hinger, Fred D. (Sep 26, 1904–Jan 10, 2001). Elected to the Percussive Arts Society’s Hall of Fame in 1986 in the categories of author, education, inventions, orchestral, and timpani, Fred Dan Hinger is best known for his positions as timpanist with the Philadelphia and Metropolitan Opera Orchestra as well as for manufacturing his own line of timpani, snare drums, and mallets. See PAS Hall of Fame. For a full biography, visit www.pas.org. HIP. Acronym for Historically Informed Performance. Hi-Stepper carrier. A marching harness that holds a snare drum in a raised position in front of the player in order to allow the performer to march with a high step (knees raised to waist level). hoch (Ger.). High or the high note. hochet (Fr.). Toy rattle. Hochrainer, Richard (Sep 26, 1904–May 3, 1986). Elected to the Percussive Arts Society’s Hall of Fame in 1979 in the categories of author, orchestral, and timpani, Richard Hochrainer is best known for his positions as timpanist for the Vienna Philharmonic and Vienna State Opera Orchestras and for his teaching at the Vienna Academy of Music. See PAS Hall of Fame. For a full biography, visit www.pas.org. hog grunt. A device that emulates the sound of a hog rooting. See traps. höhe (Ger.). High or height, in relation to pitch. hoisting gear effect. An instrument that imitates the sound of chains and gears moving. See traps. hojalata de trueno (Sp.). See thunder sheet. holder. A device designed to hold an instrument, stick, or mallet in place for a performance or in preparation to pick up for a performance. Common holders are for snare drum sticks, mallets, woodblocks, cowbells, triangles, toms, crash cymbals, and tambourines. A holder attaches to another instrument or a stand, or sits atop a trap table. Holz (Ger.). Wood. It can also infer woodblock, wood sticks, or wood mallets.
Holz Geschlagen (Ger.). Wood drum shell. Holz und Strohinstrument (Ger.). Wood and straw instrument. An archaic term for xylophone, also called Strohfidel. The term originates from the fact that the wooden bars were laid on rows of braided straw ropes at the nodal points for each row of bars. Holzbl (Ger.). Abbreviation for Holzblock. See woodblock. Holzblock (Ger.). See woodblock. Holzblocktrommel (Ger.). See woodblock and wood drum. Holzenes Klachter (Ger.). Archaic term for xylophone. holzern (Ger.). Wooden. holzern Windglocken (Ger.). Wooden wind chimes. holzernes Gelachter or Glachter (Ger.). See xylophone. Holzfass (Ger.). Wooden barrel (or barrel drum). Holzfiedel (Ger.). Archaic term for xylophone. Holzfisch (Ger.). Wood fish. See temple block. Holzgriff (Ger.). Wooden handle. Holzhammer (Ger.). Wooden hammer or beater, usually large. Holzhammerchen (Ger.). A small wooden hammer or beater. Holzharmonika (Ger.). See xylophone. Holzinstrument (Ger.). Archaic term for xylophone. Holzkasaten (Ger.). See woodblock. Holzkiste (Ger.). Wooden box. See woodblock and slit drum.
Holzklatsche (Ger.). See slapstick. Holzkopfschlagel (Ger.). Wooden-headed mallets. Holzleisten (Ger.). Wooden slat. Holzpannreifen (Ger.). Wooden counterhoops. Holz-Paukenschlagel (Ger.). Wooden-headed timpani mallet. Holzplattentrommel (Ger.). See wood drum. Usually a single-headed drum, with a wooden head. Holzrand (Ger.). Wooden hoop or rim of a drum. Holzraspel (Ger.). Wood rasp (güiro). Holzschaft (Ger.). Wooden shaft or handle. Holzschl (Ger.). Abbreviation for Holzschlagel, wood sticks. Holzschlagel (Ger.). Wood sticks. Holzschlitztrommel (Ger.). Wood slit drum. Holzstäbe (Ger.). See claves. Holzstabspiel (Ger.). See xylophone. Holzsteil (Ger.). Wooden shaft, shoulder of stick, or butt end of stick. Holzstiel gegan Rand (Ger.). Wooden shaft struck on hoop (rim) of drum. Holzstocken (Ger.). Small wooden sticks. Holztabspiel (Ger.). See xylophone. Holz-tomtom (Ger.). Wood drum. See Holzplattentrommel. Holzton (Ger.). See woodblock.
Holztraube (Ger.). Wooden wind chimes. Holztrommel (Ger.). A wood drum, slit drum, or wood block. Holz-und schlaginstrument (Ger.). See xylophone. Holz-und strohinstrument (Ger.). See xylophone. Holzwindglocken (Ger.). See wind chimes. Holzzarge (Ger.). Wooden drum shell. Honduras rosewood. A hardwood, species Dalbergia stevensonii, used as the primary and most desired wood in the manufacture of marimba and xylophone bars. It is a dark, reddish-brown color. High-quality heartwood is limited in supply due to the depletion of wood from old-growth forests. hoof beats. See horse hooves. hoofs. See horse hooves. hooks. Hardware used to mount or carry drums and accessories, usually attached to a strap, harness, or stand. hoop. See counterhoop. hoop-crack. See rim shot. hoop-mounted. An adjective describing an instrument that is attached (mounted) to the counterhoop of a drum, usually the bass drum of a drum set. Common hoop-mounted items are woodblocks, cowbells, cymbals, attached cymbals, and ratchets. horizontal technique.A rotary technique whereby a mallet is moved in a horizontal, arched direction striking a keyboard percussion bar at each end of the motion. horse hoof slab. A rectangular, slate slab, about 12 by 6 inches in size, used as a base on which horse hooves are struck. horse hooves, hoofs, hoof. Instruments that imitate the sound of horse hooves.
Often constructed from one-half of a coconut shell, they can also be made of a concave, cup-shaped piece of wood. Played in pairs, they are held one in each hand and struck against a slab of slate or wood. For the sound of military or cavalry hooves, there is a jingle mounted inside each hoof that simultaneously imitates the rattle of spurs. horse neigh. Instrument that imitates the sound of a horse nicker or whinny. horse timpani. Pair of small timpani that are mounted on horses and played by the rider. Originally used for military signals during battle, they are now only seen in ceremonial parades. Also known as cavalry timpani and horse drums. hourglass drum. Wood-shell drum constructed in the shape of an hourglass. The lacings allow a performer to change the pitch of the drum when squeezed by the arm or hand while playing. See changgo and talking drum. huada. See maracas. huehuetl. Mexican, single-headed, wood drum carved from a tree trunk with the shell cut into three legs extended from the log. It is often highly decorated with carvings and painted. Hufgetrappel (Ger.). See horse hooves. hul. See slit drum. Hültzes gelachter (Ger.). Archaic term for xylophone. humidifier. A device designed to maintain a desired range of humidity for the purpose of care and performance in instruments. The most common humidifier for percussion instruments is one used internally for concert bass drums with calf skin heads. Hupe (Ger.). auto horn. hybrid rudiment. A rudiment that is composed of two or more standard rudiments. See rudiments and appendix N, “PAS 40 International Drum Rudiments.”
hyōshigi. Wooden clapper composed of two rectangular blocks of wood struck together or on the stage floor in theater music of Japan and China.
I ice bell. An instrument designed like a large bell of a cymbal, usually 7 to 10 inches. idiofono a raschiamento (It.). See scraper and rasp. idiófono raspado (Sp.). See scraper and rasp. idiophone. An instrument whose sounds result from the vibration of the body of the instrument, such as claves, cymbals, triangles, castanets, and keyboard percussion instruments. idiophone râpé (Fr.). See scraper and rasp. il corpo (It.). See drum shell. imitation. An instrument designed to emulate the sound of any object, machine, animal, or person. These instruments comprise a large category of percussion sounds primarily developed for use in the theater during the heyday of the silent film era, which lasted from 1898 until ca. 1930. See traps. in der Derne (Ger.). In the distance. This usually refers to an instrument played offstage. in der Mitte (Ger.). In the middle. in ritmo (Sp.). In rhythm. in the pocket. Placing each note exactly with the beats and subdivisions, neither ahead nor behind, thereby precisely being in rhythmic unison with other players in an ensemble. in weitester Ferne (Ger.). Far off stage, a long distance away. incudine (It.). See anvil. independent adjustable snare strainer. A strainer that adjusts the tension for
each snare strand, wire, or cord as well as the height for the snares on each side of the drum. independent roll. A keyboard percussion technique whereby one hand executes a sustained roll with two mallets that is rhythmically independent of the other hand’s rhythms, if any. independent stroke. A technique whereby one hand or foot executes a full stroke that is rhythmically independent from the other three limbs. Indian ankle bells. A cluster or rows of pellet bells mounted on a leather strap and worn by dancers in India. Indian bell cluster. A cluster or rows of pellet bells mounted on a leather strap and worn by Native American dancers. Indian bells. Small brass bells with internal clappers. Indian drum. A wooden shell tom with one or two animal skins attached and tensioned by leather lacings. Usually performed by Native American musicians seated in a circle around the drum and playing in unison, each with a single beater, while singing. Indian jingles. Small, metal disc jingles mounted in a wooden frame and shaken or struck by Native American dancers. Indian tablās. See tablā. Indian tom-tom. See Indian drum. Indianischer Trommel (Ger.). See Indian drum. Indische Schellenband (Ger.). Indian ankle bells or Indian bell cluster. individual snare tension. A strainer that adjusts the tension for each snare strand, wire, or cord. individually tuned snares. See individual snare tension. inégales (Fr.). In the French style of playing, this is to lengthen the first of a pair
of notes so they become slightly unequal in length. Innendämpfer (Ger.). See internal damper and tone control. inside springs. Springs mounted internally as opposed to the outside of hardware, such as on a bass drum pedal with springs mounted inside the post. inside turn. A position when playing with four-mallet technique where one arm is positioned toward the body in such a way that the outside mallet plays a bar of lower pitch than the inside mallet in the right hand (a right inside turn), or a higher pitch in the left hand (a left inside turn). instructor. A method book designed for self-study of an instrument. See selfinstructor. instruments à percussion (Fr.). See percussion instruments. internal damper. An adjustable device that dampens, muffles, or mutes the ring of a drum from the inside of the drum. Also known as a tone control. See muffler. internal tone control. See internal damper and muffler. International Drum Rudiments. Forty rudiments as established by the Percussive Arts Society in 1984. See appendix N, “PAS 40 International Drum Rudiments.” interurban whistle. A three-tone train whistle. See locomotive whistle and traps. ipu. Hawaiian calabash or gourd. iron chains. These are various lengths and sizes of iron-link chain that sound when shaken or when struck against a hard surface. iron pipes. Varying lengths of iron pipes, often graduated in size for different relative pitches, and played with hard beaters. is (Ger.). Sharp, as in Fis (F♯).
iya ilu, iya’lu. African talking drum.
J j. de t. (Fr.). Abbreviation for jeu de timbres (glockenspiel). J-hook strainer. See strainer and rope drum. jackdaw. English friction drum or lion’s roar. Jackson, Milt (Jan 1, 1923–Oct 9, 1999). Elected to the Percussive Arts Society’s Hall of Fame in 1996 in the categories of band leader, composition, keyboard percussion, radio/television, and recording artist, Milt Jackson is best known for his bebop vibraphone performances and recordings with the Modern Jazz Quintet and with such artists as Dizzy Gillespie and Charlie Parker. See PAS Hall of Fame. For a full biography, visit www.pas.org. jaltarang (Hin.). Tuned, porcelain bowls played with small wooden sticks and having 22 pitches matching the Indian Shruti scale. Pitch can be changed by adding water to a bowl. jam blocks. Trade name for plastic blocks manufactured in five sizes by Latin Percussion. These were created and designed as a substitute for woodblocks. James Snares. Patented by Enos P. James in 1929, these are 12-strand, coiledwire snares, usually made of steel, and soldered onto two end pieces. This design is the most popular material and construction for snares since its invention. They are also known as Snappy Snares, Snappi Snares, James Deluxe Snares, or James Super Deluxe Snares. janggo (Kor.). See changgo. Janissary music. Music of the Turkish military bands, which were called mehter. Bass drum, crash cymbals, and triangle are the primary instruments used to imitate this style in classical symphonies of Beethoven, Mozart, and others. The Turkish crescent or jingling johnny also originates from the Janissary tradition.
Janitscharenmusik (Ger.). See Janissary music. Janizary music. See Janissary music. jante (Fr.). See rim and counterhoop. Japanese bell tree. See Japanese tree bells. Japanese block. See temple block. Japanese temple bell. See dobači. Japanese temple blocks. Set of temple blocks. Japanese tree bells. Vertically strung bells from Japan having a random pitch order. They can be stroked for a glissando or played individually. Japanese wind chimes. See bamboo wind chimes. Japanese wood block, woodblock. See temple block and mokubio. Japanese wood chimes. See bamboo wind chimes. jaw’s harp. See jew’s harp. jawbone. See quijada. Fr. quyada; Ger. Schlagrassel; It. mascella d’asino; Sp. guyada. jawbone of an ass. See quijada. jay bird. Imitation of a jay bird. See traps. jazz effects. Various traps associated with early jazz music, such as splash cymbals, Chinese toms, brushes, cow-bells, and wood blocks. jazz sticks. Wire brushes. Jazzbesen (Ger.). Wire brushes. jazzerup. A set of four tuned cow or sheep bells. See cowbell.
jeden Ton gleich abdämpfen (Ger.). Each tone immediately dampened. jembe. See djembe. jeu à tubes (Fr.). See chimes. jeu chromatique de cencerros (Fr.). See chromatically tuned cowbells. jeu de bouteilles (Fr.). See tuned bottles. jeu de cloche (Fr.). See chimes). jeu de clochettes (Fr.). See glockenspiel (orchestra bells). jeu de timbres (sonne 2 8 ves au dessus de la notation) (Fr.). Glockenspiel (sounds two octaves higher than written). jeux de cencerros (Fr.). See Almglocken (pitched). jeux de timbres (Fr.). See glockenspiel. jeux de timbres à clavier (Fr.). See keyed glockenspiel. This is an instrument with a larger range than a normal glockenspiel and operated by a piano-style keyboard. Most performers, lacking access to the instrument, perform the part on a standard glockenspiel (orchestra bells) with mallets. jeux de timbres à marteaux (Fr.). See keyboard glockenspiel. jew’s harp. An instrument having a fixed, flexible metal tongue (lamella) in a metal frame. It is inserted between the teeth and plucked with a thumb or finger. The mouth, which serves as a resonating chamber, changes pitch by altering the size of the cavity with the tongue and lips. Fr. guimbarde; Ger. Maultrommel; It. sciacciapensieri; Sp. trompa. jhanjhana. Indian rattle made of metal with metal beads. jingle bells. Metal pellet bells mounted on a stick or flat disc with a handle. jingle hammers. Mallets with a hammer-shaped head having one beating surface and jingles mounted on the opposite side. Used to imitate clog dancing and tap dancing while playing woodblock, xylophone, or toms.
jingle head. A snare drum batter head with four sets of jingles attached to simultaneously create the sound of a snare drum and tambourine.
jingle stick. A stick of any length with jingles attached in a row or rows for the length of the stick. It can be as few as one pair of jingles on a single snare drum stick. jingle-ring. A flat, circular frame having pairs of jingles mounted around the entire frame. It can be mounted or held and played by hand. See ching-aring. jingles. (1) Flat metal discs made of bronze, brass, aluminum, or silver alloys. They can also be fluted on the edges or built with concentric bends. (2) Small pellet bells. jingling johnny. See Turkish crescent. Jingostick. A stick with three sets of jingles mounted opposite each other in a
triangle configuration with a handle and played like clappers. joca (LA). Single-headed drum, similar to a large conga. jonc (Fr.). Flexible rattan. Jones, Elvin (Sep 9, 1927–May 18, 2004). Elected to the Percussive Arts Society’s Hall of Fame in 1991 in the categories of band leader, drum set, and recording artist, Elvin Jones is best known for his rhythmically free flowing drum set style while leading his own band and with John Coltrane. See PAS Hall of Fame. For a full biography, visit www.pas.org. Jones, Harold (b. Feb 27, 1940). Elected to the Percussive Arts Society’s Hall of Fame in 2013 in the categories of author, drum set, education, radio/television, and recording artist, Harold Jones is best known for his drumming with such artists as Sarah Vaughn, Nat King Cole, Sammy Davis Jr., the Count Basie Orchestra, and for his recordings with Oscar Peterson and B.B. King. See PAS Hall of Fame. For a full biography, visit www.pas.org. Jones, Jo (Oct 7, 1911–Sep 3, 1985). Elected to the Percussive Arts Society’s Hall of Fame in 1990 in the categories of band leader, drum set, and recording artist, Jo Jones is best known for his work as drummer for the Count Basie Orchestra from 1934 to 1948. See PAS Hall of Fame. For a full biography, visit www.pas.org. jouer avec les mains (Fr.). Play with the hands. joués par un seul executant (Fr.). Played by a single player. Ju, Tzong-Ching. Elected to the Percussive Arts Society’s Hall of Fame in 2016 in the categories of author, composition, education, ethnic music, industry, orchestral, publisher, radio/television, recording artist, and theater, Tzong-Ching Ju is best known for his visionary approach in the establishment of percussion education in Taiwan, as well as for his work with the Ju Percussion Ensemble. See PAS Hall of Fame. For a full biography, visit www.pas.org. juca. A friction drum from Nicaragua.
juego de botellas (Sp.). See tuned bottles. juego de campanas (Sp.). See chimes. juego de timbres (Sp.). See glockenspiel (orchestra bells). jug. A clay or ceramic vessel with a narrow, open-holed neck, usually blown for a deep whistle tone. Jungle Hat. Hi-hat cymbals made by Zildjian with six sets of tambourine jingles built into each cymbal.
K kabuki clappers. See hyōshigi. kabuki drum. See uchiwa daiko. kaganu, kagan (Af.-Ewe). A small, African, single-headed, wooden barrel drum played with two long sticks. It is the highest-pitched drum of the Ewe tribe. kakko. Japanese double-headed drum with rope-tension system used in gagaku court music. It is similar to the shime daiko, but set horizontally and struck on both heads instead of one. kalengo (Af.). See talking drum. kalimba. African lamellaphone with tongues of metal or wood mounted on a sounding box. The tongues are plucked with fingers or thumbs. Also known as sanza, mbira, marimbula, and thumb piano.
kalimbaphone. See kalimba. kamesa, kameso. A tubular metal shaker. Ka-me-so. Ludwig trade name for a wooden tube shaker. kangaroo heads. Common name for a transparent drum head made from the skin of a llama. Kanon, Kanone (Ger.). See cannon shot and imitation. kapok. A type of silky fiber from the seed of a Cebia tree. Kastagnetten (Ger.). See castanets. kastan’ety (Rus.). See castanets. kastaniety (Pol.). See castanets.
kazoo. Small tubular instrument with a fixed diaphragm that buzzes when the player hums through the hollow channel. Kegeltrommel (Ger.). See conical drum. keine Betonung (Ger.). Without emphasis. Kelchgläser (Ger.). See tuned glasses. Kelon. Trade name by Ludwig for synthetic bars for keyboard percussion instruments. kempur. A large, low-pitched, Balinese gong used in gamelan music. Kessel (Ger.). Kettle or timpani bowl. Kesselpauke (Ger.). See kettledrum and timpani. Kesseltrommel (Ger.). See kettledrum and timpani. kessing kessing (Af.). An attachment for a djembe composed of a thin, fan or feather-shaped piece of metal with loose, metal rings inserted around the edge. It makes a rattle or buzzing sound when the drum is struck. Ketten (Ger.). See chains. Kettenrassel (Ger.). Rattling chains. kettledrum, kettle drum. Pitched drum with a single head mounted over a hemispheric or elongated bowl. See timpani. ketuk. Javanese button gong used in gamelan orchestra. Kevlar heads. Drum heads manufactured from a para-aramid synthetic fiber. These heads, woven from the high-tensile strength fiber, are commonly used for marching heads and have a high resistance to both stretching and breaking from the high tension and strong impact pressures of marching sticks and mallets. key chimes. See key tree wind chimes.
key holder. A device attached to the shell of a drum or to other hardware used to store a drum key. key tree wind chimes. A set of wind chimes made from 100 hanging brass keys. keyboard glockenspiel. A glockenspiel played by a piano-style keyboard mechanism. See keyed glockenspiel. Fr. glockenspiel à clavier; Ger. Klaviatur-glockenspiel; It. campanelli a tastiera. keyboard mallet instrument. See keyboard percussion instrument. keyboard orchestra bells. See keyed glockenspiel. keyboard percussion instrument. A general category for all pitched percussion instruments composed of bars that are arranged in a keyboard fashion. Included in this category are the xylophone, marimba, glockenspiel, vibraphone, chimes, and electronic keyboard percussion instruments, such as the MalletKat. keyboard xylophone. See keyed xylophone. keyed glockenspiel. A glockenspiel played by a piano-style keyboard mechanism. keyed xylophone. A xylophone played by a piano-style keyboard mechanism. Fr. glockenspiel à clavier; Ger. Klaviatur-glockenspiel; It. campanelli a tastiera. khanjeri. A small frame drum or tambourine from India. khartal. A large jingle stick from India played by shaking with both hands. khat tali. Pairs of finger-mounted metal clappers from India. khol. A two-headed clay drum from India, with unequal-sized skin heads, played in a horizontal position. khō̧ng noi, khō̧ng thom. Small, dry-sounding, pitched gongs from Cambodia and Laos used for rhythmic pulses.
khō̧ng vong yai, khō̧ng wong yai. Small, brass gongs from Thailand. Tuned in a seven-note scale, they are suspended flat in a circular rack and performed by one player in the pī phāt ensemble. kick drum. Slang term for the bass drum in a drum set that is played by a bass drum pedal. kidi (Af.-Ewe). An African drum of the Ewe tribe. A medium-sized, wooden barrel drum, it has an antelope head, is played with two wooden sticks, and can be considered a talking drum when playing a drum dialogue with the master drum. kidney drum. A bass drum whose shell is curved into the shape of a kidney, allowing the pitch to vary based on the width of the head. Kiltie bass drum sticks. Disc-shaped felt beaters on an aluminum shaft with leather thongs at the bass of the handle to facilitate twirling of the sticks. kin. Japanese temple bells or temple cup gongs. Kinderspielzeugtrommel (Ger.). A child’s toy drum. King George marimba. A limited-edition marimba, designed by Musser and built by Deagan. In 1934, 102 were specially built for a European tour of 100 marimbists who comprised the International Marimba Symphony Orchestra (IMSO) from the United States, with a planned performance for England’s King George V.
kip. The hide of a young animal, such as a calf, that is not tanned. Kirchenglocken (Ger.). See church bells. kit. See drum set and drum kit. kitten cry. An imitative device that makes the sound of a kitten cry or meow. See traps. kiyada (LA). See jawbone and quijada. kl. Becken (Ger.). A small cymbal. kl. Trommel (Ger.). A small snare drum with snares. kl. Trommel mit Saiten (Ger.). Snare drum with snares. kl. Trommeln in Terzabstand gestimmt (Ger.). Snare drums tuned in thirds. klagend Becken (Ger.). Lamenting cymbals. klang des Tamtams imitieren (Ger.). Imitate the sound of the tam tams. Klangholzer (Ger.). Wood sound (claves). Klangplatte (Ger.). Bar of a keyboard percussion instrument. Klangstäbe (Ger.). See claves. Klapper (Ger.). See rattle and clapper. Klappholz (Ger.). A wooden clapper or slapstick. kláves (Rus.). See claves. Klaviatur (Ger.). A keyboard. Klaviaturglockenspiel (Ger.). See keyboard glockenspiel. Klaviaturxylophon (Ger.). See keyboard xylophone.
Klavierglockenspiel (Ger.). See keyboard glockenspiel. Klavierxylophon (Ger.). See keyboard xylophone. klaxon. See siren and alarm. Usually hand cranked, klaxons were used as automobile horns during the first decades of the 20th century, as well as for other warning devices, such a gas attacks during WWI. klaxon à manivelle (Fr.). A hand-cranked siren. klein, kleine (Ger.). Small or little. This term is used as a diminutive adjective. kleine Pauke (Ger.). Small timpani (piccolo timpani). kleine Trommel, kleine Trommeln (Ger.). See snare drums. kleine Trommel-stocken (Ger.). Also snare drum sticks. klingen lassen (Ger.). To let ring. Allow to vibrate as long as prudent. klingt oktave höher (Ger.). Sounds an octave higher. klingt wie notiert (Ger.). Sounding as written. kloboto (Af.-Ewe). A deep, single-headed, wooden, African drum played with sticks. This pegged drum is the smallest of the master drums and played while seated. klong klong. See monkey drum. klöppel (Ger.). See stick. klöpper (Ger.). See stick. Klyperon. Deagan trade name for a synthetic keyboard percussion bar made of plastic and fiberglass. Klyposerus. Deagan trade name for Caribbean cocobolo wood, species Dalbergia retusa, which was used for xylophone bars. It is a red-brown color streaked with yellow.
Knapp, Roy (Oct. 26, 1891–Jun 16, 1979). Elected to the Percussive Arts Society’s Hall of Fame in 1972 in the categories of author, drum set, education, radio/television, theater, and total percussion, Roy Knapp is best known as a Chicago-based radio and television drummer as well as for his Knapp School of Percussion. See PAS Hall of Fame. For a full biography, visit www.pas.org. knarre (Ger.). See ratchet and rattle. knee rest, knee brace. A mechanical device attached to a marching or parade drum and resting against the player’s knee. This brace stabilizes the motion of the drum, keeping the drum to the front of the player while marching. knee-fist technique. A technique whereby a tambourine is held in one hand and played up and down between a player’s knee and the closed fist of the free hand. This is used for loud, rhythmic passages. Knieschlag (Ger.). Strike on the knee. knitting needle. A metal knitting needle used as a beater. knob-tensioned drums. Drums constructed with an internal tension system operated by knobs from the outside. Knöcheln (Ger.). Knuckles. Knöchels (Ger.). Knuckles. Knöchenklapper (Ger.). See bones. knock. See cross stick. knut (Rus.). See slapstick. ko. A Korean, laced, double-headed frame drum with a handle running through two sides of the frame. koj. See Guatemalan marimba. kojom. See Guatemalan marimba.
kokiriko. See bin-sasara. Kokosnußchalen (Ger.). See coconut shells. kolokól’chiki (Pol.). See glockenspiel. kong wong yai. See khong vong yai. Konustrommel (Ger.). See conical drum. Konzerttrommel (Ger.). See concert drum and snare drum. Kopf (Ger.). See head and drum head. Korean blocks. See temple blocks. Korean hand drum. See ko. Korean multiboard whip. See bin-sasara. Korean squeeze drum. See changgo. Korean temple blocks. See temple blocks. Korean wood blocks. See temple blocks. Kork (Ger.). Cork. kotly (Pol.). See kettledrums and timpani. kponlogo drum (Af.-Ghan). A pegged barrel drum from West Africa with skin heads that are played by hand. They are usually played in sets of three to six in varying sizes. Kraft, William (b. Sep 6, 1923). Elected to the Percussive Arts Society’s Hall of Fame in 1990 in the categories of composition, drum set, and timpani, William Kraft is best known for his many compositions for percussion and as a percussionist and timpanist with the Los Angeles Philharmonic. See PAS Hall of Fame. For a full biography, visit www.pas.org. Kreuzschlag (Ger.). See cross sticking, cross stick, and stick shot.
kring. A hollowed-out African log or slit drum with several tongues carved in the top. Krotalen (Ger.). See crotales and finger cymbals. Krupa, Gene (Jan 15, 1909–Oct 17, 1973). Elected to the Percussive Arts Society’s Hall of Fame in 1975 in the categories of author, band leader, drum set, and recording artist, Gene Krupa is best known for leading his own big band where he established the drum set as a prominent solo instrument in the big band swing style. See PAS Hall of Fame. For a full biography, visit www.pas.org. krystallophon (Ger.). An instrument with glass as a vibrating medium, either struck or by friction. Examples are glass harmonica, tuned glasses, glasschord, glass marimba, glass xylophone, and glass glockenspiel. ksilofón (Rus.). See xylophone. Kuba-pauken (Ger.). See timbales. Kuckuck Instrument (Ger.). See cuckoo bird call. Kuckuckspfeife (Ger.). See cuckoo bird call. Kuckucksruf (Ger.). See cuckoo bird call. Kuhglocke (Ger.). See cowbell. Kuhglocke ohne Kloppel (Ger.). A cowbell without clapper. Kuhschelle (Ger.). See cowbell. kul kul. Two-toned Balinese slit drum made from bamboo with a handle attached to one end. kulintang. (1) A pitched Indonesian button gong or (2) an ensemble that uses these gongs. kundu. An hourglass-shaped wooden drum of Papua New Guinea with a single, snake-skin head.
Kuppe (Ger.). Dome or top. (1) The dome (bell) of a cymbal. (2) A direction to play on the bell (of a cymbal). Kuppel (Ger.). The bell (of a cymbal). Kürbis (Ger.). See calabash gourd. Kürbisraspel (Ger.). A gourd rasp or güiro. Kürbisrassel (Ger.). A gourd rattle. kurz (Ger.). Short. Kurzwirbel (Ger.). Short roll. kyeezee. A pagoda-shaped, brass bell plate that spins when struck, creating a vibrato effect. Also called Burma bell or spinning gong. kyisi. See kyeezee.
L l. v. (Fr.). Abbreviation for laissez vibrer. laine (Fr.). Wool. laine filée (Fr.). Spun wool yarn. laine peignée (Fr.). Wool yarn. laissez résonner (Fr.). Let resonate (ring). laissez s’eteindre (Fr.). Let the sound die away. laissez vibrer (Fr.). Let vibrate (ring). laissez vibrer le métal (pas de trille) (Fr.). Let the metal ring naturally, do not roll. laiton (Fr.). Brass. lambeg drum. A deep, double-headed, rope-tensioned bass drum used in Irish marching bands. It is usually struck with cane sticks. lame d’un canif (Fr.). Knife blade. lame musicale (Fr.). See musical saw. lamellaphone. An instrument whose sound is produced by a vibrating tongue, or tongues, of thin wood, metal, or plastic as it is plucked by the thumbs or fingers. Each tongue is attached or fixed at one end and often mounted over a resonating box or chamber. They can also be mechanical instruments, for example, a music box operated by a wound spring or crank. lames altérées (Fr.). Sharps and flats, or the accidentals. lamina (It.). A plate, bar or key.
lamina metalica (Sp.). A metal plate, bar, or key. láminas (Sp.). A plate, bar, or key. laminate, laminated. Also known as plywood or veneer, this is the construction process of a wood shell using two or more layers or plies of wood glued together, usually under pressure. Drum sticks can also be made with a laminate construction. lana (It.). Wool. Landsknechtstrommel (Ger.). A military field drum or long drum. lang (Ger.). Long. Lang, Morris “Arnie” (b. Feb 2, 1931). Elected to the Percussive Arts Society’s Hall of Fame in 2000 in the categories of author, composition, education, industry, inventions, orchestral, radio/television, recording artist, and timpani, Arnie Lang is best known for his career as a percussionist in the New York Philharmonic. See PAS Hall of Fame. For a full biography, visit www.pas.org. lap. This refers to the wrapping of a skin head onto the flesh hoop. It can sometimes refer to the overlap of a drum shell wrap, or the actual overlap of a wood drum shell during the manufacturing process. lapping tool. A curved tool used to lap a skin head onto a flesh hoop. lasciar vibrar (It.). Let vibrate (ring). lasciare le cordes del tamburo (It.). Loosen the snares of the drum (snares off). Lasso d’amore. See corrugated tube. lastra del tuòno (It.). See thunder sheet. lastra di latta (It.). Tin sheet. See thunder sheet. lastra di metallo (It.). Metal sheet. See thunder sheet. lastra di sasso (It.). Stone slab. See lithophone.
Lateinamerikanische Timbales (Ger.). See timbales. lateral stroke. A performance technique primarily used for keyboard percussion instruments when the player holds both mallets in one hand and moves the wrist sideways (parallel) to the surface of the bar. This technique, when mastered, allows two mallets in one hand to move rapidly and produce two notes. It is commonly called a double lateral stroke. lathe, lathes. A thin piece or pieces of wood about one-quarter-inch thick by about two inches wide, primarily used to serve as support on plaster walls. Used in music to sound similar to a slapstick. latigazo (Sp.). See whip and slapstick. látigo (Sp.). See whip and slapstick. launch whistle. Imitation whistle of a boat or train leaving the dock or station. It has three tones. See traps. layback. To play behind the beat, thereby giving a feeling of holding the tempo back, but not actually slowing down. le livre de bois (Fr.). A book made of wood. A stage prop for a magical book that comes to life in Ravel’s opera L’enfant et les sortilèges. Constructed from two wooden planks, it is struck with a stick and usually played from the pit. Leder (Ger.). Leather. Lederbestandteile (Ger.). Leather belt with stick holder. Lederschlegel (Ger.). Leather beater or mallet. Leedy & Ludwig. See Ludwig & Ludwig. Leedy Manufacturing Company. Founded by U. G. Leedy in 1895, the Leedy Company manufactured drums, traps, and keyboard percussion instruments. The company was sold to G. C. Conn in 1929, and for a brief time, the instruments were combined with instruments under the Ludwig name, which was also owned by Conn, to manufacture Leedy & Ludwig drums. Leedy was acquired by the Slingerland Drum Company in 1955
and, after passing through several different owners, is now owned by Fred Gretsch Enterprises Inc. left-hand lead. Sticking technique where the left hand plays the strong notes of a beat or measure and the right hand plays the weak notes. leg rest. A device attached to a marching or parade drum to provide a firm, stable surface for the drum to contact the leg while marching. legato stroke. A stroke that allows the instrument or drum head to ring freely. It is performed by holding the stick or mallet loosely and lifting the tip or head of the stick or mallet quickly away after striking the instrument. léger et lointain (Fr.). Light and distant. légère (Fr.). Lightweight. legnetti (It.). See claves. legni di rumba (It.). See claves. légno (It.). Wood. leight (berührt) (Ger.). Lightly touching. leise (Ger.). Soft or low. Leonard, Stanley (b. Sep 26, 1931). Elected to the Percussive Arts Society’s Hall of Fame in 2010 in the categories of author, composition, education, orchestral, radio/television, recording artist, and timpani, Stanley Leonard is best known for his nearly 40-year career as a timpanist with the Pittsburg Symphony. See PAS Hall of Fame. For a full biography, visit www.pas.org. Lepak, Alexander (Jul 1, 1920–Mar 25, 2009). Elected to the Percussive Arts Society’s Hall of Fame in 1997 in the categories of author, composition, education, orchestral, publisher, radio/television, recording artist, and timpani, Alexander Lepak is best known for his 50-year career as a timpanist with the Hartford Symphony, as well as being a professor at the Hartt School of Music. See PAS Hall of Fame. For a full biography, visit www.pas.org.
lero-lero (It.). See scraper and rasp. les petites notes: lentes (Fr.). The grace notes: (play) slowly. let vibrate. Allow the instrument to freely ring or sustain after striking it regardless of the notated duration of the note. This usually applies to cymbals, triangles, gongs, and other sustaining metallic instruments, as well as large ringing drums. lever. A length of metal, wood, or plastic connecting one stable and one movable object. The term most often refers to the on-off lever of a snare strainer. Lewis, Mel (Melvin Sokoloff) (May 10, 1929–Feb 2, 1990). Elected to the Percussive Arts Society’s Hall of Fame in 2001 in the categories of band leader, composition, drum set, education, radio/television, and recording artist, Mel Lewis is best known for his work as drummer/leader with the Thad-Jones/Mel Lewis Orchestra and the Mel Lewis Jazz Orchestra. See PAS Hall of Fame. For a full biography, visit www.pas.org. libres cymbale (Fr.). See suspended cymbal. lick. A short, practiced series of notes, usually on a drum set, used as a fill or standard set-up figure while performing in an improvised fashion. liège (Fr.). Cork. lift stroke. A technique whereby the mallet or stick is quickly raised away from the striking surface after making contact with the instrument. It is used to create a legato or sustained sound. Light, Marshall. See American Drum Company. lightning machine. An imitation instrument usually consisting of a thin sheet of metal that imitates the sharp, high-pitched, and short clap of thunder associated with a lightning strike. Often used for theater effects. See traps. lights. Internal mounted lightbulbs, often flashing or blinking, used on bass drums during the first half of the 20th century and on entire drum sets during the 1970s when transparent acrylic shells were introduced.
lija (Sp.). Sandpaper. See sandpaper blocks. lilletromme (Dan.). See snare drum. lilt. An uneven rhythm used to give a light, dancing feel to the music. Often found in Irish music, it usually has the first part of a beat slightly extended. linear drumming. A drum set performance style whereby a series of notes are distributed among various instruments of the drum set, mostly a single instrument at a time, and result in a composite beat or fill. It is an essential element of the modern funk drumming style. linguaphone. See lamellaphone. linkes Fell (Ger.). Left drum head or the drum on the left side of a multi-drum setup. links (Ger.). Left or on the left side. lion drum. See lion’s roar. lion’s roar. A medium-sized, single-headed friction drum constructed with a wood shell and having a rosined rope knotted through a hole in the head. It is played by pulling a strip of cloth or leather along the rope. It can also be used to imitate other animals, such as the growl of a bear. Fr. tambour à cordes; Ger. Brummtopf; It. ruggio di leone; Sp. tambour con cuerdes.
Lishon, Maurice (Aug 7, 1914–Nov 18, 2000). Elected to the Percussive Arts Society’s Hall of Fame in 1989 in the categories of drum set, industry, radio/television, and theater, Maurice Lishon is best known for his ownership of Frank’s Drum Shop in Chicago. See PAS Hall of Fame. For a full biography, visit www.pas.org. litávry (Rus.). See timpani. Lithophon (Ger.). See lithophone. lithophone. A chromatic keyboard percussion instrument with tuned slabs, bars, or discs made of stone slabs. Fr. pierres; Ger. Lithophon, Steinspiel; It. litofono.
litofono (It.). See lithophone. llama head (also kangaroo and porpoise). A transparent skin head made from either a llama or an angora sheep, also known as a porpoise or kangaroo head. Lochsirene (Ger.). See siren. lockern (Ger.). To loosen or to slacken. locomotive. Imitation of a locomotive bell, locomotive whistle, or locomotive steam engine. See traps. locomotive bell. A brass or steel bell sounded by an internal metal clapper. See
traps and bell plate. locomotive steam engine. See railroad imitation. locomotive whistles. A three-tone whistle made of wood or metal that imitates the sound of a train. Same as a steamboat whistle. See traps. locust. A small, whirled friction drum. Same instrument as a Waldteufel. See frog. log drum, logs. Originally constructed from a hollowed log, these instruments are usually now constructed from hard wood in the form of a hollow rectangular box having two different length tongues made by cutting an “H” in the striking surface. Fr. tambour de bois; Ger. Schlitztrom mel; It. tamburo di legno.
long drum. (1) A deep, rope-tensioned field drum or military drum, often associated with medieval or renaissance music. It can be constructed with or without snares. (2) During the 18th and 19th centuries, the term described a marching bass drum with rute and beater in the style of Janissary music. long roll. Rudiment consisting of repeating double strokes (LLRR). It is one of the most basic technical stick patterns in drumming and the first rudiment to be mastered for military Camp Duty. See rudiments and appendix N, “PAS
40 International Drum Rudiments.” lontanissime (It.). Very far, as in an offstage effect. loo-jon, loojon. See lujon. lotos flute. See slide whistle. Lotosflöte (Ger.). See slide whistle. lotus flute. See slide whistle. lourde (Fr.). Heavy. low boy, lowboy, low-boy. An instrument with two small cymbals mounted about 12 inches from the floor; the cymbals are clashed together with a foot pedal. It preceded the high boy and modern hi-hat.
low pitch. A tuning system used during the 19th and early 20th centuries, where A=435. Instruments manufactured during this time period were tuned in either high pitch (A=440) or low pitch (A=435), and keyboard percussion instruments, such as the glockenspiel, were sometimes constructed with movable bars in order to function with instruments tuned in either pitch system.
Löwengebrull (Ger.). See lion’s roar. Ludwig, William F., II (Sep 13, 1916–Mar 22, 2008). Elected to the Percussive Arts Society’s Hall of Fame in 1993 in the categories of author, education, and industry, William F. Ludwig II is best known for his continued development of Ludwig Drum Industries, after first operating in partnership with his father. See PAS Hall of Fame. For a full biography, visit www.pas.org. Ludwig, William F., Sr. (Jul 15, 1879–Jun 15, 1973). Elected to the Percussive Arts Society’s Hall of Fame in 1972 in the categories of author, education, industry, orchestral, radio/television, and theater, William F. Ludwig Sr. is best known for founding the Ludwig & Ludwig Drum Company, the WFL Drum Company, and the expansion of the company into Ludwig Industries. See PAS Hall of Fame. For a full biography, visit www.pas.org. Ludwig & Ludwig, Ludwig Drum Company, WFL Drum Company. Founded in 1909 by William Ludwig Sr. and his brother Theobald Ludwig,
the Ludwig company has been a mainstay in the drum and percussion manufacturing business for over 115 years. The company has passed through several different owners, including a sale in 1929 to the G. C. Conn Corporation, who owned the Ludwig name until it was bought back in 1955. For a brief period of time, Conn combined the names Ludwig and Leedy, producing Leedy and Ludwig (L&L) instruments, and beginning in 1937, William Ludwig established the WFL Drum Company to compete with the Conn Corporation. After the purchase of the Ludwig name, William Ludwig discontinued the WFL Drum Company and established Ludwig Industries. In 1981, William Ludwig II sold the company to the Conn-Selmer Corporation, the current owner. Well-known model names of Ludwig drums include the Supraphonic, Acrolite, Pioneer, and Black Beauty designs. In 1965, Ludwig acquired the Musser line of keyboard percussion instruments, adding a full range of percussion instruments to their catalog, which continues to be published. lug. A protruding anchor to which is attached an adjustable screw or cord. For drums, this usually consists of a tube, casing, or single nut attached to the drum shell. lug casing. The external portion of a drum’s tensioning system that is screwed to the drum shell and contains a threaded receiver nut for the tension rod. Casings can be cast or pressed, and companies often have readily identifiable shapes or designs to make their drums easily recognized.
lug nut. A threaded receiving nut for a tension rod. lujon. A pitched instrument having metal tongues mounted to the top of a hollow box that acts as a resonating chamber. The number of tongues can vary from two or three to a full chromatic octave.
l’ultima dovra equivalare alla batt. suguente (It.). Eventually the 16th note will become equal to the 8th note. lungo (It.). Long. lyra, lyre. See bell lyra.
M m.d. (Fr.). Abbreviation for mano droite (right hand). m.d. (It.). Abbreviation for mano destra (right hand). m.d. (Sp.). Abbreviation for mano derecha (right hand). m.g. (Fr.). Abbreviation for main gauche (left hand). m.i. (Sp.). Abbreviation for mano izquierda (left hand). m.s. (It.). Abbreviation for mano sinestra (left hand). ma sonoro (It.). But sonorous or sonorously. ma vibrato (It.). But ringing or with vibrations. macchina da scrivere (It.). See typewriter. macchina dal vento (It.). See wind machine. macchina di tuòno (It.). See thunder sheet. maceta (Sp.). See mallet. machine à écrire, mach. à écrire (Fr.). See typewriter. machine à tonnerre (Fr.). See thunder sheet. machine à vent (Fr.). See wind machine. machine castanets. See castanet machine and castanets. machine timpani. A category of timpani that have a mechanical system for simultaneously moving all tension rods. Tuning systems in this category include cable, chain, hand crank, hand or foot lever, foot pedal, rotary, and pneumatic. See hand-tuned timpani.
machined fittings. Hardware and instrument parts that are cast and then cut or trimmed to exact specifications creating strong, high-quality seams and connections. This type of manufacture results in parts that are more interchangeable and stronger than stamped parts. machine-hammered. A manufacturing process for metallic instruments that uses a machine to hammer the instrument into its final shape. This process often includes hammer patterns that affect the resonance and timbre of the instrument. The process is primarily used for lower-quality cymbals and gongs, as well as for copper timpani bowls. See hand-hammered. machinery effect. A mechanical instrument that imitates the sound of gears moving. It is used for imitations of a hoist, anchor raising or lowering, oil derrick, windlass, freight elevator, and other sounds. See traps. macho (Sp.). Male. A term used to describe the smaller or higher-pitched instrument when the instrument appears in pairs, such as claves, bongos, timbales, and congas. For claves, it is the striking instrument. See hembra (female). Mackintosh cover. A waterproof, lightweight, cotton cover widely used for drums during the late 19th and early 20th centuries. Made in exacting sizes for various drums, they were usually lined with a soft material, had a carrying handle or strap, and closed by either a row of snaps or a zipper. madera (Sp.). Wood. màglio (It.). Hammer or large mallet. maguey. Slit drum from the Dominican Republic. mail (Fr.). Abbreviation for maillet (mallet). mail carrier’s whistle. High-pitched, single-tone whistle, used in the late 19th and early 20th centuries. Same as early train conductor or police whistle (prior to the pea whistle). maillet, maillets (Fr.). See mallet and mallets. This term can specify various types of mallets, depending on the context.
maillet de cloche (Fr.). Chime mallet. mailloche (Fr.). A generic term for a large mallet like the type used on a bass drum or tam-tam. mailloche de grosse caisse (Fr.). See bass drum mallet. mailloche en bois (Fr.). Wooden mallet. mailloches en feutre compact (Fr.). A tam-tam mallet with a firm felt head. mail-order lessons. Self-study methods or tutors popular during the first half of the 20th century. Sold by subscription, they often arrived to a subscriber’s address at regular intervals, such as one per week, within specific periods of time, such as 35 or 50 lessons over 35 or 50 weeks. Popular for xylophone and marimba, important titles include Charles Fisher’s Course of Instruction for Bells and Xylophone—50 Graded Lessons (1912); George Hamilton Green’s Instruction Course for Xylophone—Fifty Lessons (1924–1926) and Modern Improvising and Application of Ideas to Melody—Thirty-Five Lessons (1936–1937); and Emil Farnlund’s Howell-Aretta System of Modern Marimba Study—50 Lessons (1938). main (Fr.). Hand. main droite (Fr.). Right hand. main gauche (Fr.). Left hand. Malacca cane. Rattan that originates from the port of Malacca City. This cane is of a high quality, often used for shafts in the construction of timpani mallets. malleable iron. An iron that maintains good tensile strength—with the ability to flex without breaking—after being cast. This is often used for small pieces of hardware fittings, washers, and brackets on instruments or stands. mallet. A generic name for a striking implement having a handle with an enlarged head. The head can be made of any material, such as brass, aluminum, wood, plastic, acrylic, rawhide, cloth, and cork. In addition, mallets are often covered or wrapped with layers of yarn, cord, or felt. A
mallet is generally used on an instrument that requires more mass at the end of the handle than can be produced by the handle itself. Mallet is the generic term for striking implements for most keyboard percussion instruments, timpani, concert and marching bass drums, concert tom, marching tenor drums, gongs, and tam-tams. See marimba mallets, xylophone mallets, timpani mallets, bass drum mallets, and marching percussion. mallet bag. A flexible bag manufactured to store, transport, and organize mallets. Usually designed with interior pouches in several rows, it may also have outside pockets, and is usually sealed closed by a zippered seam running the entire outside edge when folded in half. mallet controllers. A series of electronic, pressure-sensitive trigger devices arranged in a keyboard percussion instrument configuration. See MalletKAT. mallet head. The large-shaped end of a mallet that provides mass and surface area with which to strike an instrument. Mallet heads can be carved into or from the handle, attached to the end of the handle, and are typically made of rubber, felt, plastic, wood, or metal. For softer mallet heads, they are covered in felt or wrapped in yarn. mallet percussion instruments. A generic term for struck keyboard percussion instruments, such as marimba, vibraphone, xylophone, and glockenspiel. The term describes instruments that are sounded when struck with implements designed in the shape of a mallet. Also called bar percussion instruments. See keyboard percussion instrument. mallet rake. A holder for mallets built in the same design as a garden rake. They are mounted vertically with several horizontal, parallel spikes spaced so that timpani mallets can be hung by the head of the mallet without falling through. malletKAT. Manufactured by Alternate Mode, the malletKAT is a digital electronic keyboard percussion instrument with pressure-sensitive, velocity controllers laid out in a keyboard percussion instrument configuration.
mallets. (1) A generic term for struck keyboard percussion instruments. It is a truncation of mallet percussion instruments. (2) Plural of mallet. mama cry. An instrument that, when blown and manipulated by the hand, produces the sound of a baby crying “mama.” See traps. mama-dada roll. An onomatopoeic phrase used to teach the double-stroke roll. See rudiment and appendix N, “PAS 40 International Drum Rudiments.” mamco (It.). Handle. mamelon (Fr.). See button gong and tuned gongs. manche (Fr.). Handle. manche en jonc (Fr.). Cane handle or rattan handle. mandira. See manjira. mandolin roll. A performance technique for sustaining a tone on a keyboard percussion instrument, suspended cymbal, and any other narrow instrument that can be simultaneously struck from opposite sides. It is performed by holding two mallets in one hand with one mallet head on the top and the other on the bottom of the bar or instrument. The mallets are then rapidly alternated in a vertical fashion, evenly striking both sides, to
produce a sustained sound. manguara. Slit drum from Colombia. mànico (It.). Handle or shaft of a mallet. manjira, manjeera. Pair of small, high-pitched finger cymbals from India. They are made of bronze, brass, copper, or zinc and sometimes connected to each other by a single cord. Manne, Shelly (Jun 11, 1920–Sep 26, 1984). Elected to the Percussive Arts Society’s Hall of Fame in 1997 in the categories of band leader, composition, drum set, radio/television, recording artist, and theater, Shelly Manne is best known for his tasteful combo drumming and for his extensive career as a Hollywood studio percussionist. See PAS Hall of Fame. For a full biography, visit www.pas.org. Mannette, Elliot “Ellie” (b. Nov 5, 1927). Elected to the Percussive Arts Society’s Hall of Fame in 2003 in the categories of band leader, composition, education, ethnic music, industry, and recording artist, Ellie Mannette is best known for his developments in tuning and for his performances on the steel drum. See PAS Hall of Fame. For a full biography, visit www.pas.org. mano (It., Sp.). Hand. mano derecha (Sp.). Right hand. mano destra (It.). Right hand. mano izquierda (Sp.). Left hand. mano sinestra (It.). Left hand. manual cymbals. Hand cymbals. See crash cymbals. máquina de escribir (Sp.). See typewriter. máquina de trueno (Sp.). See thunder sheet. máquina de viento (Sp.). See wind machine.
maraca de métal (Fr.). See metal maraca and metal rattle. maraca di metallo (It.). See metal maraca and metal rattle. maraca sticks. Pair of hollow sticks or mallets with small beads or pellets inside. The hollow space can be either the shaft or the head of the mallet. Maraca mallets with felt-covered heads are commonly used as a substitute when a pair of maracas is designated to be used on timpani in Bernstein’s West Side Story. maracas. A pair of small, hollow shakers or rattles, each attached to a handle. Prominent in Latin American music and originally made from dried gourds, they are also made from plastic, rawhide, or wood, with small beads, pellets, shot, or dried seed inside. Usually having an oval or teardrop shape, the pair has two distinct, indefinite pitches and is often decorated. Gourd rattles are among the earliest known instruments in the Americas, appearing in the first copper-plate engravings by Theodore DeBry of European explorers visiting the American continents in the 16th century. maraclave. A combination instrument having the hollow gourd of a maraca and a hardwood clave as the handle, thereby combining both maracas and claves into one design. marákas (Rus.). See maracas. marc tree. See Mark Tree. marching bell lyra, lyre. See bell lyra. marching bells. See bell lyra. marching men machine, marching men, marching machine. A framed set of small, loosely suspended, wooden bars or poles. The entire frame is lifted and struck against the floor or other hard surface to imitate the rhythmic stamping of many feet, as when soldiers are marching.
marching percussion. General term referring to the instruments commonly used in the performance of music for parades, marching bands, drum corps, and indoor winter guard competitions. These instruments include all common percussion instruments, but in current practice, only drums and cymbals are actually carried when marching. Other instruments—such as keyboard percussion instruments, timpani, concert bass drums, and tam-tams—are placed on the side of the field in a front ensemble, or pit ensemble. Prior to the use of a front ensemble, some instruments—such as the bell lyra, concert bells, xylophone, marimba, and timpani—were also carried on the field. Marching percussion has a distinctive rudimental style of music in both the performance techniques and arrangements of music for cadences, features, or as integral parts to bands and drum corps.
màrgine (It.). Edge or rim. This can specify a location on a head, or the counterhoop of a drum, depending on the context. marimba. Keyboard percussion instrument with bars of wood suspended on a frame over resonators. A type of xylophone, marimbas exist in many distinct ethnic designs in addition to the modern concert instrument. The modern instrument has a unique tuning when compared to the xylophone, as well as a significant body of solo and chamber music composed for it in the last century. The instrument consists of a series of chromatic wooden bars, usually rosewood, set in a piano keyboard arrangement. The bars are hand tuned with a single arch design in order to emphasize the fundamental and third partial in each bar. The bars are suspended by cords mounted on pegs over tuned resonators and struck with specially designed marimba mallets. The design of marimbas often takes into account the appearance of the
instrument, often having fake resonators in an arch shape or other visually appealing design on the audience side of the instrument. Marimbas exist with standard ranges of between three and five octaves, the most common being C3 to C7, A2 to C7, and C2 to C7. Ethnic marimbas include African types (called balafons or gyil) and Latin American or Mexican marimba types (called marimba con tecomates, marimba grande, or marimba cuache), which have a buzzing feature in their gourd resonators. Marimba orchestras and ensembles of over 100 players are possible and have had special marimbas, such as the King George marimba or the Century of Progress marimba, manufactured for unique events. The marimba typically functions as the primary keyboard percussion instrument studied by a percussionist for a degree in music.
marimba con tecomates (Sp.). A handmade, diatonic Mexican marimba with gourd resonators mounted on legs. It is likely the type of marimba first brought from Africa to the present area of Guatemala. The gourd resonators have a portion of pig intestines mounted in a small hole at the end of each resonator, called a tela. This creates a buzzing sound. See marimba, buzz marimba, Mexican marimba. marimba cuache (Sp.). The smaller instrument in the Mexican marimba doble.
marimba de arco (Sp.). A type of Mexican marimba con tecomates. It is handmade with gourd resonators, but rather than being mounted on a frame with legs, a single branch of birch or cherry is bent and attached to both ends of the frame. The instrument is then suspended from a player’s neck by the branch while being played. marimba de calabazaz (Sp.). A primitive marimba with gourd resonators, similar to the balafon. marimba de tecomates (Sp.). See marimba con tecomates. marimba doble (Sp.). A Mexican marimba ensemble composed of two chromatic marimbas of two different sizes. The larger is named marimba grande, and the smaller is named marimba cuache or requinto. marimba gongs. Metal plates mounted over resonators. They produce a focused, sustained sound similar to a vibraphone. marimba grande (Sp.). The larger instrument in the Mexican marimba doble. marimba mallets. Striking implements specifically designed for use on a marimba. They consist of a 13-to-16-inch shaft made of birch or rattan, with a round or oval head made of wood, plastic, or rubber. The head is usually wrapped with yarn or cord providing a wide variety of hardness from which a player may choose. marimba piccolo. See marimba cuache. marimba tenor. See marimba cuache. marimbafono (It.). See marimba. Marimbaphon (Ger.). See marimba. marimbaphone. A chromatic keyboard percussion instrument manufactured by Deagan during the early 20th century. It is constructed with thin, steel bars mounted on a frame over resonators. The ends of the bars are shaped in a concave curve to facilitate the use of a bow on the bars as an alternative to the normal manner of striking them with mallets. In addition, the frame rotates 90 degrees allowing the bars to turn vertically with the bowed ends
facing up. The instrument was available in ranges from two to four octaves.
marimbaphone (Fr.). See marimba. Marimbaspeiler (Ger.). Marimba player. marimba-xylophone. See xylorimba. marimbula. A large lamellophone-type instrument from Latin America that is struck with mallets.
Mark Tree, marktree. A row of thin, graduated metal tubes suspended from a horizontal bar. When stroked against each other by the hand or a mallet, a brilliant glissando effect is produced. The tubes can also be solid rods and mounted in more than one row to produce many variations of bar chimes. The Mark Tree, in its original form, was designed by Mark Stevens and the name coined for him by Emil Richards. See bar chimes. marteau (Fr.). Generic term for a hammer, usually with a steel head, such as the type used to hammer nails. See hammer. marteau sur un plance (Fr.). Hammer struck on a wooden plank. martelli sul incudini (It.). Hammers on anvils. martèllo (It.). See hammer. martillo (Sp.). See hammer. martillo bongo beat. A basic Cuban rhythmic pattern for bongos in salsa music.
The pattern consists of two full measures in common time of continuous 6eighth notes with changes in pitch and timbre. marúga (Sp.). Cuban shaker or maracas, both of which are made of metal as opposed to wood or gourds. mascèlla d’àsino (It.). Jawbone of an ass. See quijada. Maschinenpauke (Ger.). See machine timpani. masse (Fr.). Large hammer. master drum. In African drumming, this is the lead drum played by the master drummer. Often it is the largest drum, gives cues to change to a new section of the music, and has dialogue or talking with other drums in the ensemble. matched grip. A method of holding a pair of sticks or mallets in the same manner for both hands. In the grip for snare drum sticks, for example, the sticks are held by the thumb and index finger with the palms facing downward and the sticks forming a 90-degree angle. See traditional grip.
matraca. South American ratchet. Maultrommel (Ger.). See jew’s harp. mazo (Sp.). See mallet. mazza (It.). A large, soft mallet used for tam-tam or bass drum. mazza doppia (It.). See double-ended mallet. mazzuola (It.). A medium-hard mallet used for suspended cymbal. mazzuolo doppio (It.). See double-ended mallet. mbila. A type of kalimba found in southern and southeastern Africa. mbira. African lamellaphone with metal or wood tongues affixed to a hollow wood box or a gourd resonator with bottle cap jingles attached to the gourd. See kalimba. measured roll. A concert roll produced by multiple-bounce strokes with rhythmically measured strokes. For example, bouncing the sticks with exactly four equal arm strokes over a quarter-note duration, each stroke having the value of a 16th note. media, medio (It., Sp.). Medium. mehrere (Ger.). Several or many. mehrere kleine Trommeln (Ger.). Several snare drums. mehter. Turkish military band known for the use of instruments found in Janissary music. membrana (It.). Membrane or drum head. membrane. See drum head. membranophone. A classification of instruments that produce their sound by the vibrations of a membrane. Most drums, including timpani, fall into this classification.
Messerklinge (Ger.). Knife blade. metà (It.). Middle. metal block. See anvil and cowbell. metal buzz rattle. See squawker. metal cabasa. Afuchê cabasa. See shekere. metal castanets. Pair of finger cymbals mounted on a tong handle. They are clapped together or struck with a hard mallet or stick as they are clapped together for open and closed tones. Also known as cymbal tongs or metal clappers. Fr. castagnettes de fer; Ger. Metallkastagnetten; It. castagnette di ferro. metal clappers. See metal castanets. metal claves. Claves made of metal. They can either be a hollow tube, closed on the end, or solid rods. They are sometimes coated with a finish to provide a better grip while playing. metal hammer. (1) A carpenter’s hammer with a flat metal head. (2) A machinist’s hammer with a ball-shaped, metal head (ball-peen). metal jazz-stix. See brushes. metal jingle stick. See chimta. metal log drum. See lujon. metal maracas. For maracas from India, see jhanjhana. For maracas from Mexico, see Aztec maracas. metal marimba. An early name for the vibraphone. metal pipe. A section of iron or steel pipe, the length of which determines the relative pitch. Struck with a metal hammer or brass mallet, these are often arranged with several pipes of graduated lengths. metal plate. A flat plate of iron or resonant metal, struck with a hammer or
heavy beater. It can be laid flat on a soft surface or suspended from a stand. See bell plate. metal rasp. See metal scraper. metal rattle. A rattle or shaker with a metal body. metal scraper. A scraper or rasp made of metal on the part having ridges. The entire scraper could be made of metal. metal shaker. A shaker made from a hollow metal tube with pellets or seeds inside. Also known as chocalho. metal sheet. See thunder sheet. metal tube shaker. See metal shaker. metal wind chimes. See wind chimes. metal-bound ear. See ears. Metallblock (Ger.). Metal block or anvil. Metallfolie (Ger.). Foil rattle. Metallgefässrassel (Ger.). See metal rattle. Metallkastagnetten (Ger.). See metal castanets. metallo (It.). Metal. metallofono (It.). See metallophone. Metallophon (Ger.). See metallophone. metallophone. An instrument composed of a series of tuned metal bars mounted on a framed stand or box. They may be arranged in a single or double row and tuned chromatically, diatonically, or in another scale system. Examples include glockenspiel, orchestra bells, vibraphone, and gender. Metallschlegel (Ger.). Metal beater.
Metallstab, Metalstab (Ger.). Metal rod or beater. See triangle beater. Metblocks. Manufactured by Walburg & Auge in the early 20th century, this is a small, tubular instrument made of metal with a single slit running lengthwise. Though metal, it sounds similar to a woodblock, is more durable than wood, and can be used outdoors in wet weather. metered roll. See measured roll. method. A systematic process for improving performance and musical techniques. A method usually has a sequential order of studies designed in order of priority of the concept or difficulty level of the exercises and specific descriptions or manners of executing the music, strokes, or sounding process. Mexican bean, Mexican bean pod. See pod rattle. Mexican marimba. A buzz marimba from Mexico, Central America, and South America. These instruments have resonators with membranes called tela, which produce a buzzing sound called charleo. Examples include the marimba grande, marimba cuache, marimba de arco, and marimba con tecomates. mezzo (It.). Half or middle. microxyl. Invented by James Wood for his percussion quartet Village Burial, this instrument is a series of micro tonally tuned, one-and-one-quarter-inch wooden dowels. They are arranged in four ranks over a box resonator and played by stroking them with a mallet. MIDI. See Musical Instrument Digital Interface. mi-dur (Fr.). Medium hard. MIJ. Acronym for “Made in Japan.” It is often used in descriptions of vintage drums having an unknown brand name, but known to be manufactured in Japan. milieu (Fr.). Medium or middle.
Militärtrommel (Ger.). See military drum. military breakfast call. A standard beat used in Camp Duty. military drum, military snare drum. A deep snare drum, usually more than eight inches in depth. It is generally played with snares engaged for use in military or rudimental music. Fr. tambour militaire; Ger. Militärtrommel; It. tamburo militar; Sp. tambor militar. millwheel stroke. A Swiss rudiment used in Basel drumming. See rudiments. mince (Fr.). Thin or lightweight. mini timbales. See timbalitos. mirdaṅg, mirdaṅgam. See mṛdaṅgam. mirliton. An instrument with a thin membrane that vibrates or buzzes when sound is hummed or played into it, such as a kazoo. mirutankam. See mṛdaṅgam. mission bell tree. A collection of miniature mission bells, each hung from a tree stand so that they strike each other when the tree is shaken. Also known as tree bells. mit (Ger.). With. mit 2 Besen im Kreis streichen (Ger.). With two brushes in a circular figuration. mit Becken (Ger.). With cymbals. mit Besen (Ger.). With brushes. mit Besen, schlagen-streichen (Ger.). With brushes, struck and rubbed. mit Besen streichen; Anfang jeder Dauer akzentuieren (Ger.). With brushes, rubbed; accented for the length of the note. mit Besen über Fell streichen (Ger.). Rub the head with brushes.
mit Bravour (Ger.). With bravura or in a showy manner. mit Bürsten (Ger.). With brushes. mit Dämpfer (Ger.). Muted or muffled. mit Daumen oder mit Filzschlegeln dictes Rasseln (Ger.). Create a dense rattling sound with the thumb or felt-covered mallets. mit dem Daumen (Ger.). With the thumb. See thumb roll. mit dem Fingern (Ger.). With the fingers. mit dem Griff (Ger.). With handle of the stick or mallet. mit dem Händen (Ger.). With the hands. mit den Fingern (Ger.). With the fingers. mit den Händen (Ger.). With the hands. mit den Handflächen (Ger.). With the palm or flat of the hands. mit den Schlägeln (Ger.). With snare drum sticks. mit den Teller (Ger.). Plates or crash cymbals. mit der Hand schlagen (Ger.). Strike with the hand. mit einem Schlag (Ger.). With one strike, like a glissando. mit Fuss, mit Fuß (Ger.). With foot. mit gewohnlichen Schlägel (Ger.). With the ordinary stick. mit Griff (Ger.). With the handle of the mallet. mit harten Schlägeln (Ger.). With hard sticks. mit Holzernem (Ger.). With a wooden stick.
mit Holzschlägel (Ger.). With wood sticks. mit kleine Besen (Ger.). With small brushes. mit kleine Trommelstocken (Ger.). With small (thin) snare drum sticks. mit kleinem Metallbesen (Ger.). With a small metal brush. mit Marimbaspieler (Ger.). With the marimba player. mit Metalstah Streichen (Ger.). Rubbed with a metal stick. mit Nagel (Ger.). Strike with a nail. This can be a carpenter’s nail or a finger nail. mit Paukenschlägel-Holz (Ger.). With wooden timpani mallets. mit Saiten (Ger.). With snares on. mit Sand gefullte Blechbuchse (Ger.). Tin can filled with sand. mit Schlag auf den Rand (Ger.). Strike on the rim. mit Schlägel (Ger.). Sticks. Schlägel is a generic term for stick or mallet, but when used without modification the term usually means snare drum stick. mit Schnarrsaiten (Ger.). With snares on. mit Schwammschlägel, mit Schwammschl (Ger.). With a soft mallet. mit Teller (Ger.). With cymbal or plate. This is a singular word, and is almost always intended to be plural and mean a pair of crash cymbals. mit Tellern (Ger.). With pair of crash cymbals (two plates). mit Vibraspieler (Ger.). With the vibraphone player. mit weichem Schlägel (Ger.). With soft mallets. Mitte (Ger.). Center or middle.
Mittel (Ger.). Medium. mocking bird. A whistle that imitates the sound of a mocking bird. See traps. modéré (Fr.). Moderately. mòdo ordinàrio (It.). Play in the normal method or manner. This is usually a direction after having modified an instrument with a mute, muffler, or some other manner. It can also mean to use a normal stick, mallet, or beater in the usual manner. moins (Fr.). Less. moins lent (Fr.). Less slow. moins vif (Fr.). Less fast. mokubio.. Japanese wooden drum used in Buddhist temple services, similar in sound to a temple block or woodblock. mokusho.. A small Japanese woodblock with a round shape. It sits on three small feet, is high pitched, and is manufactured in several sizes. mòlle (It.). Soft. molto (It.). Much or very. molto duro (It.). Very hard. molto mòlle (It.). Very soft. money beat. A standard drum set rhythm in common (4/4) time. It consists of steady eighth notes played on the hihat with the bass drum on counts 1 and 3, and the snare drum on counts 2 and 4. It is named for the fact that this simple beat has appeared on thousands of hit recordings in rock and pop styles. money chink. A stack of heavy jingles mounted vertically on a wire with a handle attached. This is used to imitate the sound of coins being dropped into a bowl or a coin-operated device, such as a pay phone, vending machine, or
game. It can also be used to imitate the rattling of keys or spurs. See traps. money rattling. See money chink and traps. mong. A pitched gong from Thailand that is used in the pī phāt ensemble. monkey drum. A small, double-headed, rope-tensioned drum with two knotted strings tied to the shell, usually mounted on a handle. As the drum is rotated back and forth rapidly, the ends of the strings swing and strike each of the heads. monster bass drum. A bass drum of very large diameter, usually 40 inches or more. Sometimes having a single head, like a gong drum, these drums, which measure eight feet in diameter, are often used for public relations by notable marching bands such as the University of Texas and Purdue. Verdi’s Requiem prominently features a drum of this size, when available. mòrbido (It.). Soft. morceau de fil de fer (Fr.). Piece of iron wire, or thin triangle beater. Morello, Joe (Jul 17, 1928–Mar 12, 2011). Elected to the Percussive Arts Society’s Hall of Fame in 1993 in the categories of author, drum set, education, and radio/television, Joe Morello is best known for his work with Dave Brubeck. See PAS Hall of Fame. For a full biography, visit www.pas.org. morendo (It.). Dying away. morendo ed allargando (It.). Dying away and getting slower, resulting in an elongating or widening of the sounds. moteur (Fr.). Motor. motor boat. A device that imitates the sound of the engine of a motorboat. See traps. motor horn. See auto horn and bulb horn. Motor langsam (Ger.). Slow motor. This is a direction for the speed of the fans
on a vibraphone. motor off. A direction to play a vibraphone with the motor turned off. This results in a continuous, sustained tone rather than a vibrato effect. motor on. A direction to play a vibraphone with the motor turned on. This results in the rotation of the fans that cover the resonators, creating the characteristic vibrato effect. A separate control adjusts the speed of the vibrato. See vibraphone. Motor schnell (Ger.). Fast motor. This is a direction for the rotation speed of the fans on a vibraphone. motorcycle. A device that imitates the sound of the engine of a motorcycle. See traps. motorcycle horn. A device that imitates the sound of a motorcycle horn. See traps. motorcycle whistle. A three-tone whistle used by motorcyclists in the early 20th century. Same as a train whistle. See traps. motorhorns. See auto horn. mou (Fr.). Soft. mounted castanets. A pair or pairs of castanets attached to a board or stand under spring or elastic tension in an open position, facing each other. They can be easily struck with fingers or mallets. For extra loud passages, they can be struck with a separate pair or pairs of handle castanets. Also known as a castanet machine, or machine castanets. mounted finger cymbals. A pair or pairs of finger cymbals attached to a board or stand under spring or elastic tension in an open position, facing each other. The mounting usually allows only the top finger cymbal to move downward, striking the bottom one. They can be easily struck with fingers or mallets. Similar in design to a castanet machine or to metal castanets. mounted tom tom. Generic term for tom tom, in varying sizes, attached to the bass drum shell in a drum set. This suspension system is used in addition to
a system where a tom has legs and is placed on the floor or has its own floor stand. See also rack tom, hanging tom, and floor tom. mouse squeak. An instrument that imitates the sound of a mouse squeak. See traps. mouth siren. See Acme siren whistle. moyen (Fr.). Middle or medium. mrdaṅg, mrdaṅga. See mṛdaṅgam. mṛdaṅgam (Hin.). An elongated, barrel drum from India. The two goat-skin heads are of different sizes and are tuned and tensioned by leather straps running from one head to the other for the entire length of the drum. The addition of a clay paste to the center of the smaller drum head provides the drum with a vast spectrum of timbres between the two heads. The drum is performed in a horizontal position, with the smaller head on the player’s right and both heads played by the hands and fingers. mridaṅgam. See mṛdaṅgam. muffled. (1) Traditionally, this is a direction on a snare drum part to turn the snares off or play without the snares, creating a tom sound. Prior to the common usage of a strainer that could be turned on and off, a player merely stuck an extra drum stick between the snares and the bottom head to create this effect. In modern usage, the term muffled also means to cover or drape the drum head with a cloth to dampen the head’s vibrations and create a muted tone. The player strikes directly on the cloth covering the head. For military drums used in a funeral procession, the drums are often both covered with a cloth and the snares turned off. (2) For instruments other than snare drum, modern usage of this term means to apply a mute or muffler to the instrument. This term is often seen on music for timpani or bass drum. For drum set, many types of muffling materials are used, such as duct tape on drum heads and cymbals, pillows and foam placed inside bass drums, and numerous specifically designed internal and external rings, appliqués, and devices. Fr. étouffé; Ger. gedampf, abdämpfen, dämpfen; It., copèrto. muffled drum. See muffled.
muffled stroke. A stroke used on hand drums and frame drums whereby the fingers remain on the head as they strike the drum, muffling the sound. muffler. (1) A device placed on, or attached to, a drum head or other vibrating portion of a percussion instrument in order to reduce or eliminate vibrations of the head or instrument. (2) During the first few decades of the 20th century, a device for turning the snares off on a snare drum. This device was often called a “combination strainer and muffler.” See muffled.
mula. A Latin American single-headed drum similar to a conga. multeffect. An instrument designed to imitate several different sounds, such as a baby-cry, rooster, and duck quack. See traps. multi-angle carrying hook. A bar attached to the counter-hoop of a marching drum. It has a series of holes to which is attached a carry sling. The various holes allow a player to adjust the angle at which the drum hangs. multiple-bounce roll. A rudiment that produces a sustained sound by quickly alternating multiple-bounce strokes. multiple-bounce stroke. A stroke that produces three or more sounds by allowing the stick to quickly rebound after the initial stroke. See multiplebounce roll and appendix N, “PAS 40 International Drum Rudiments.” multiple percussion. A performance medium having two or more percussion instruments played by a single performer. Common setups of instruments include the drum set, several concert toms, and a keyboard percussion instrument with various other smaller instruments set up surrounding it. Early 20th-century performances by a percussionist in the pit of a theater, who played drums, sound effects, and traps, would also fall into this
category of musical performance. Landmark pieces in this medium include the percussion parts to Stravinsky’s L’histoire du soldat and Milhaud’s La création du monde, as well as Stockhausen’s multiple-percussion solo, Zyklus. murchang (Hin.). See jew’s harp. Muschel-Windglocken (Ger.). Wind chimes made of sea shells. music box. A spring-wound lamellophone tuned to a specific melody. It operates by either opening the lid to the box, or pulling a starting pin to allow the interior, tongued drum to rotate. música turca (Sp.). See Janissary music. musical bells. A category of chromatically pitched instruments manufactured during the early 20th century for use in novelty-type performances. These instruments consist of various types of bells, usually mounted on a stand, and either struck or shaken to play melodies. They can be performed by any number of players, one to several. Types of tuned bells include sleigh bells, sheep bells, musical rattles, Swiss staff bells, saucer staff bells, and Swiss hand bells. musical bow. See berimbau. musical electric bells. Chromatic set of hemispheric-shaped bells, each mounted with a resonator and an electrical beater mechanism activated by a piano-style keyboard. musical glasses. Crystal wineglasses that are struck or rubbed around the rim to sound a pitch. The pitch is determined by the size of each glass and can be changed by adding water. Chromatic sets are possible. Musical Instrument Digital Interface (MIDI). A standardized electronic connector system that allows various digital instruments, controllers, or components to process or communicate signals via cables from electronic trigger devices, processors, and sound modules to amplifiers, speaker systems, or computers. musical rattles. Pitched rattles composed of a metal tone bar mounted over a
box resonator with a striker that hits the bell as the instrument is spun. This was a novelty instrument manufactured by the Deagan Company in the early part of the 20th century. Though they can be mounted in chromatic sets with rotating handles for performance by one or more players, they are usually played individually by picking them up, similar to hand bells. In addition to each pitch being manufactured separately, they were also made with three tones mounted together, all of which sound when spun, usually tuned to a triad.
musical saw. A metal-blade hand saw stabilized at the handle and bent from the end of the blade. To play melodies, the blade can be struck with a mallet or sounded with a cello or violin bow. Pitch is adjusted by the degree of bend in the blade by the free hand. Fr. scie musicale; Ger. Säge; It. sega. musique turque (Fr.). Janissary music. Musser, Clair Omar (Oct 14, 1901–Nov 7, 1998). Elected to the Percussive Arts Society’s Hall of Fame in 1975 in the categories of composition, industry, inventions, and keyboard percussion, Clair Omar Musser is best known for establishing the marimba as a serious concert instrument and for his innovations to the instrument through his work at the Deagan and Musser companies. See PAS Hall of Fame. For a full biography, visit www.pas.org. Musser grip. A method popularized by Clair Omar Musser for holding two keyboard percussion mallets in one hand so that the handles are separated
and can be individually controlled. Most often used on marimba. See Steven’s grip and four-mallet grip.
Musser roll. A technique of playing a sustained sound on a keyboard percussion instrument, used most frequently on marimba. The mallets (usually four) rapidly strike the bars sequentially, first with an outside mallet then an inside mallet of one hand, followed by the outside mallet then inside mallet of the other hand, similar to an arpeggio, in a continuous repetition of alternate hands. Also known as a ripple roll. muta, muta in (It.). Change, change to. This is most often found as a direction to change the pitch on a timpani part, such as “C muta in D.” muta pandero (It., Sp.). Change to tambourine. muta tamburo (It.). Change to snare drum.
muta xylophone (It.). Change to xylophone. mute. (1) A small pad made of felt, soft leather, or a synthetic material that is laid on a drum head to stop the vibrations of the head when struck. (2) A direction to place a mute on an instrument. muted. (1) A direction to place a mute on an instrument. (2) A description of an instrument that has a mute placed on it.
N nabimba. Trade name for a buzz marimba manufactured by Deagan between 1920 and 1925. nacaire (Fr.). See nakers. nácara (Sp.). See nakers. nacchera (It.). See nakers. nacchera cilindrica (It.). Round castanet or block. nacchere (It.). See castanets. naccherino, nacherini (pl.) (It.). Castanet player (sing.), players (pl.). nach (Ger.). After or to, meaning change to a new pitch after playing a previous one, for example, “A♭ change to B♭” on timpani. Nachtigallenschlag (Ger.). See nightingale bird call. nadimba. See buzz marimba. nagaed. Deagan spelled in reverse. This is the trade name for the species of Honduran rosewood, Dalbergia stevensonii (variant Standl or hormigo), used by Deagan for topline keyboard percussion instruments. nakers. Forerunners of the modern timpani, these are small kettledrums laced with skin heads and found in Europe. They are the counterpart to the Middle Eastern naqqārah. Made of clay, wood, or metal, they were played while mounted on the backs of horses or camels, suspended from a player’s neck, or carried by another person in front of the player while marching. nakoval’nya (Rus.). See anvil. nameplate. See badge.
nao bo. A small Chinese cymbal. naqqārah (Hin.). Forerunners of the modern timpani, these are small kettledrums laced with skin heads found in the Middle East and India. They are the counterpart to the European nakers. Made of clay, wood, or metal, they were played while mounted on the backs of horses or camels, suspended from a player’s neck, or set on the ground while the player was seated. naruco (Jap.). Wind chimes made of wood (bamboo). National Association of Rudimental Drummers (NARD). Founded in 1933 during a national convention of the American Legion, this organization established a membership audition process using a standardized set of 26 American drum rudiments based on the rudiments appearing in American drum books prior to that date. It promoted correct technique, advanced adjudication procedures for American Legion and Veterans of Foreign Wars (VFW) Drum Corps competitions, encouraged composition of rudimental solos, and established educational activities. It ceased operation on December 31, 1977, but was revived in 2008. natural. Play in the ordinary manner. This direction usually appears after a notation directing a player to use a technique that is out of the ordinary. naturale (It.). Play in the ordinary manner. naturel (Fr.). Play in the ordinary manner. Naturfell (Ger.). See skin head. Nebelhorn (Ger.). See fog horn and traps. nesting tom toms. A set of single-headed toms, graduated in size and designed to stack inside each other for ease of storage and transport. net et sec (Fr.). Clear and short. net et très détaché (Fr.). Clear and very detached. Nexus (Bob Becker, William Cahn, Robin Engelman, Russell Hartenberger,
John Wyre). Elected to the Percussive Arts Society’s Hall of Fame in 1999 in the categories of composition, education, ethnic music, keyboard percussion, recording artist, and total percussion, Nexus is best known as a world-famous percussion chamber ensemble, having commissioned, composed, and performed hundreds of works throughout the world since its formation in 1971. See PAS Hall of Fame. For a full biography, visit www.pas.org. nicht dämpfen (Ger.). Not dampened, let ring. nicht eilen (Ger.). Not hurried. nicht zu weich (Ger.). Not too soft. nickel plating, nickel-plated. An electroplating process commonly used to finish drum hardware for the first 60 years of the 20th century. A nickel finish appears somewhat duller and less reflective than a chrome finish, which has become the preferred plating from the latter half of the 20th century to the present. niedrigstre Register, das (Ger.). The lowest register. Nietenbecken (Ger.). See sizzle cymbal. nightingale bird call. Trap whistle that imitates the call of a nightingale. One of the most commonly used trap effects, it requires a player to fill the vessel partway with water. When blown, the repeated chirp is easily produced.
nima kojam tepunawas. See Guatemalan marimba. nimmt Bask. Trommel (Ger.). Take the tambourine. nine-stroke roll. A rudiment having four sets of double strokes followed by one single stroke. See appendix N, “PAS 40 International Drum Rudiments.” nipple gong. A gong with a raised, center boss. See tuned gong. noah bells. Small, hanging brass bells, with internal clappers, that come from Pakistan or India. NOB. Acronym for Nickel over Brass, a common description for metal snare drum shells during the first half of the 20th century. Nobby Gold. Trade name used by Leedy from the 1920s to the 1940s for a deep, shiny gold finish on their hardware.
nòcce (It.). Knuckles. noce di cocco (It.). See coconut shells and horse hoof. node. The part of a vibrating object that does not move (such as a marimba or xylophone bar at the point where the suspension cord is located), the center of a suspended cymbal, or the point of attachment (outside edge) of a drum head. noisemaker. A squawker. It produces a loud, metallic, crunching sound. See traps. noix de coco (It.). See coconut shells and horse hoof. non vibrez (Fr.). No vibrato. non-tied roll. A multiple-bounce roll notated with a separation before the final tap due to the lack of the usual tie. They can be interpreted with or without an actual separation depending on the context of the music. Noonan, John (Sep 28, 1904–Jan 18, 1984). Elected to the Percussive Arts Society’s Hall of Fame in 1972 in the categories of author, education, industry, and radio/television, John Noonan is best known for his work as educational director at Ludwig & Ludwig and for his teaching at Illinois Wesleyan University. See PAS Hall of Fame. For a full biography, visit www.pas.org. normale (It.). Play in the ordinary manner with the normal or usual stick, beater, or mallet. Norvo, Red (Kenneth Norville) (Mar 31, 1908–Apr 6, 1999). Elected to the Percussive Arts Society’s Hall of Fame in 1992 in the categories of band leader, keyboard percussion, and recording artist, Red Norvo is best known for his jazz xylophone and vibraphone performances as leader of his own bands. See PAS Hall of Fame. For a full biography, visit www.pas.org. NOS. Acronym for New Old Stock. nose blow imitation. An instrument that emulates the sound of a nose blowing. It consists of a small mouthpiece and a length of flat, rubber, balloon-like
tubing. See traps. notched scraper. Any length of wood, bamboo, metal, or plastic with notches cut horizontally across the length of the instrument. They can be either solid or hollow, with the hollow instruments having more resonance and volume when scraped with a stick or thin beater. See güiro and réco-réco. novelties. Any instrument that is new or unusual at the time it is introduced to the musical world. These include many sound effects for silent movies or modern film scores, the marimba, xylophone, and vibraphone when first introduced, and numerous imitations or traps. nsenge. African square shakers with rattan lengths bound together with cloth and the hollow between two layers filled with dried berries. ntrowa. African dried-gourd rattle with seeds on the inside rather than a net on the outside like the shekere. nur Becken (Ger.). Cymbals alone (do not play bass drum with them). nut box. American slang term for a tension casing (lug casing). nylon sleeve. A short length of hollow nylon used as an insulator for hardware connections or mounting purposes. It is most often used on a cymbal tilter to protect the cymbal from the threaded rod. nylon-coated snares. Cable or braided wire snares that have each strand coated by a layer of nylon. nyma bells. Chinese temple bells, sometimes mounted chromatically in a wide range of sizes, but usually arranged in sets of three, five, seven, or nine.
O o silof (It.). Or xylophone. Oberreifen (Ger.). See counterhoop. Obertonkontrolle (Ger.). See tone control and internal damper. ocean drum. A frame drum having one or two heads filled with solid metal beads. When angled the beads roll around imitating the sound of ocean surf. See traps. ocean liner (steamer) whistle. An imitation whistle with usually three tones that sounds like an ocean liner or steamboat horn. See traps. octarimba, octamarimba, octa-marimba. Keyboard percussion instrument manufactured by Leedy between 1934 and 1938 with bars mounted so that octaves can be simultaneously struck with a single, split-head mallet.
octave tuning. A bar-tuning process whereby the predominant sounding harmonic is a 15th (two octaves) above the fundamental pitch. Developed by Herman J. Schluter, of the Deagan Company, it was used for tuning marimbas beginning in 1927. See quint tuning. octobans. Manufactured by Tama starting in 1978, this drum is a narrow-width, single-headed drum (six inches) with a deep cylindrical shell, usually assembled in sets of four or eight drums. They are meant to emulate boobams and are sometimes known as tube toms or rockets. ōdaiko. Japanese barrel drum with two tacked pig-skin heads. It provides the pulse around which the smaller shime daiko plays ostinato rhythms. oder (Ger.). Or (otherwise). offbeat, off-beat. A note occurring midway between the beat. The opposite of playing on the beat. It is a common place for snare drum to play for marches and for some folk dances, such as a polka. ogororo. Similar to bell plates, these are small, flat, bronze discs (five to nine inches in diameter) that are hung like small gongs. Manufactured by UFIP. ohne (Ger.). Without. ohne Dämpfer (Ger.). Without muffling or muting. ohne Dämpfung (Ger.). Without muffler. Capital D of Dämpfung indicates a noun, so it is a physical damper, mute, or muffler on the drum. ohne Saiten (Ger.). Without snares. ohne Schellen (Ger.). Without jingles. ohne Schnarrsaiten (Ger.). Without snares. ohne weitern Anschlag (Ger.). Without hitting again, let the sound continue. oil can poppers. Hemispherical oil cans with the feed tube removed. The bottom of the can is rhythmically flexed (popped) while changing pitch with a hand over the opening of the can.
oil drums. See steel drums. oil-painted scene. Decorative painting on calf bass drum heads for drum sets during the 1920s and 1930s. okedō. Japanese two-headed drum laced from head to head at the extended flesh hoops. Used in kabuki theater and is similar in construction to the Korean changgo. Olatunji, Babatunde (Apr 7, 1927–Apr 6, 2003). Elected to the Percussive Arts Society’s Hall of Fame in 2001 in the categories of band leader, composition, ethnic music, radio/television, and recording artist, Babatunde Olatunji is best known for his educational and performance activities that brought African drumming, dance, and song to the United States, much of which was through the Olantunji Center for African Culture, which he established in Harlem, New York, in 1965. See PAS Hall of Fame. For a full biography, visit www.pas.org. Olmstead, Gary. Elected to the Percussive Arts Society’s Hall of Fame in 2013 in the categories of author and education, Gary Olmstead is best known for his teaching as professor of percussion at Indiana University of Pennsylvania. See PAS Hall of Fame. For a full biography, visit www.pas.org. on the rim. Play the music on the counterhoop (rim) of the drum with the sticks or mallets. on the wood. Play the music on the shell of the drum with sticks or mallets. on top of the beat. Play the music slightly ahead of the beat to give a seemingly forward motion to the feel of the time. one-handed roll. Technique whereby a sustained sound is performed on an instrument by rolling with only one hand. Usually used in context when holding two marimba, vibraphone, or xylophone mallets in one hand. one-man band. Instrument with one or more drums, bulb horns, washboards, cymbals, and jingles used for street performances or busking.
ongle (Fr.). Fingernail. onomatopoeic rudiments. Rudiments or drum beats that are named for the way they sound. Some examples are tap, flam, ruff, diddle, ratamacue, and poing. ooga horn. An electric klaxon or warning horn that sounds “ooga” or “ahooga”
when activated. Popular on automobiles beginning in 1908, and also used on submarines to signal a dive. open roll. A sustained, rudimental roll where exactly two notes are rapidly played by alternating hands. See double stroke, long roll, rudiments, and appendix N, “PAS 40 International Drum Rudiments.” open roll rudiments. Fundamental combinations of drum strokes that have a specific number of beats and are executed primarily with double strokes. For example, five-stroke roll, seven-stroke roll, nine-stroke roll. See appendix N, “PAS 40 International Drum Rudiments.” open shell. A drum shell that has a horizontal space cut out, usually half the depth of the shell. It was first patented March 22, 1897, and had modern revisions in drums such as the Hinger Space Tone. The space is often adjustable and, when open, provides a greater volume of air and sound when the drum is struck. open tone. A tone that is allowed to fully ring before being muffled, if at all. One of three basic sounds, or strokes, on hand drums. Orchester II folgen (Ger.). Follow orchestra II. orchestra bells. A series of tuned, carbon steel bars arranged in the manner of a keyboard. See glockenspiel. ordinaire (Fr.). Ordinary or normal. ordinare, ordinario (It.). Ordinary or normal. ordinary. Play the instrument in the usual method or manner with a typical stick, mallet, or beater. Organ Chimes. Trade name for metal angklung manufactured by the J. C. Deagan Company in the early 20th century. See angklung. òrgano di légno (It.). See xylophone. Oriental drummer’s traps. Instruments used for Chinese and Japanese effects during the first half of the 20th century. These include Chinese toms,
Chinese blocks, temple blocks, and gongs. See traps. orilla (Sp.). Edge or rim. Orkesterglockenspiel (Ger.). See orchestra bells. orlo (It.). Edge or rim. oroguru. See Japanese tree bells. ottóne (It.). Brass. ouateuse (Fr.). Gauze, very soft. outfit. The term used during the first six decades of the 20th century for a drum set or drum kit. outside turn. A position of the arms, when playing with four-mallet technique on a keyboard percussion instrument, where one arm is positioned away from the body in such a way that the outside mallet plays a bar of lower pitch than the inside mallet in the right hand (or a higher pitch in the left hand). overhead pedal. A bass drum pedal that swings or hinges from the top of the bass drum in a drum set or kit. This type of pedal was one of the earliest designs for a pedal and usually included a cymbal striker for simultaneously playing the bass drum and mounted cymbal in the late 18th century. Owen, Charles (Sep 1, 1912–Apr 17, 1985). Elected to the Percussive Arts Society’s Hall of Fame in 1981 in the categories of education, orchestral, and recording artist, Charles Owen is best known for his positions as a percussionist with the Philadelphia Orchestra and as a professor at the University of Michigan. See PAS Hall of Fame. For a full biography, visit www.pas.org. owl. A whistle that imitates the call or hoot of an owl.
P p. (It.). Abbreviation for piatto or piatti. paar (Ger.). Pair. paarweise Becken (Ger.). Pair of cymbals (crash cymbals). paddle castanets. A pair of castanets mounted with a paddle of wood between them. See castanets. Padouk. An African hardwood, species Pterocarpus soyauxii, used for marimba and xylophone bars. The wood varies in color from orange to reddish-brown; it darkens to brown when aged and is a less expensive alternative to Honduras rosewood. pads for cymbals. See cymbal pad. pahu. A single-headed, wooden drum with a laced shark-skin head from Polynesia. pailitas cubanas (Sp.). Cuban name for timbales. pailla (Sp.). A timbale drum shell. painted drum head. A drum head with a picture painted on it. It was common practice during the 1920s and 1930s to have a painted scene on a bass drum of a drum set, or drum outfit, on the side facing the audience. A few dozen scenes were standard, but any type of scene or lettering could be custom ordered. pàio (It.). Pair. pàio di piatti (It.). Pair of cymbals or crash cymbals. paire (Fr.). Pair. paire de cymbales (Fr.). Pair of cymbals or crash cymbals.
Pakistan tree bells. See bell tree. palcoscenico (It.). Backstage. This is usually a direction to play an instrument backstage or offstage. palillo baqueta (Sp.). Wooden drum stick. palissandre (Fr.). See rosewood. palka (Rus.). Stick. See snare drum stick. pallina (It.). Ball or head of a mallet. palo (Sp.). Stick. See snare drum stick. palo bufonesco (Sp.). See slapstick. palo zumbador (Sp.). See bull roarer. palochka (Rus.). Little stick, a diminutive of palka. See snare drum stick. pan, pans. A generic name for the steel pan or steel drum. pan rattle. See frying pan rattle. pancake drum. See uchiwa daiko. pandeiro (Por.). A large tambourine common to Portugal, Brazil, and Spain. It is found most often in Brazilian samba music and has a single row of jingles. pandereta (Sp.). See tambourine. pandereta brasileño (Sp.). A Brazilian jingle stick used throughout Latin America. pandéréta brésilienne (Fr.). See jingle stick. pandero (Sp.). See tambourine and pandeiro. pandero sin sonajas (Sp.). A tambourine without jingles, or a frame drum.
pandéros (Sp.). Spanish frame drums, constructed in various sizes. pang cymbal. A trade name for an exotic ride cymbal developed by the Zildjian Company. It has a low-profile bell and an upturned edge like a Chinese cymbal. pang-ku. A single-headed, tacked-skin bongo drum from China. panhuehuetl. A cylindrical drum known to be used by the Aztecs. papel di lija (Sp.). See sandpaper blocks. paper bag (to pop). A small paper bag, usually the type found in hardware stores for nuts and bolts or the type found in gift shops. It is blown up, held closed at the open end, and popped with the other hand. paper drum. See Waldteufel. paper-thin cymbal. See splash cymbal. papier de verre (Fr.). See sandpaper blocks. Pappe Rassel (Ger.). Pasteboard rattle. See Waldteufel. par (Sp.). Pair. parabolic tone bar. A keyboard percussion instrument bar with a rounded shape on both ends. parade drum. A deep-sounding snare drum used for military, rudimental, or parade music. Paradetrommel (Ger.). See parade drum. paradiddle. A standard rudiment, it consists of two alternating single strokes followed by one double stroke (RLRR, LRLL). It is onomatopoeic and can start with either the left hand or the right hand. Paradiddles are often played continuously in an alternating sequence. See rudiments and appendix N, “PAS 40 International Drum Rudiments.” parallel snares. Two snares that operate in tandem motion, one mounted under
the batter head the other under the snare head. Also called dual action or a dual strainer, both snares are engaged or disengaged (turned on or off) with a single motion of the on-off lever. Each snare has separate tension knobs with the topline drums having individually tuned snares as well. parar (Sp.). To stop, dampen, or mute. parche (Sp.). See drum head. parchment. A natural skin drum head, usually calf or sheep. Parsifal bells. Trade name by the J. C. Deagan Company for a design of orchestra bells (glockenspiel) made from 1918 to 1932. The steel bars had round tops, and each had a resonator mounted underneath it. See Parsifal chimes. Parsifal chimes. Also known as Parsifal bells, this keyboard string instrument was created for use in Wagner’s Parsifal. It consists of a keyboard frame with strings tuned to the pitches C, G1, A1, and E1, which sound the Grail motif. Each pitch, which has from five to eight strings, is struck with a wide, felt beater. Also known as a “bell piano.” Partch, Harry (Jun 24, 1901–Sep 3, 1984). Elected to the Percussive Arts Society’s Hall of Fame in 1974 in the categories of composition and inventions, Harry Partch is best known for his innovative musical instrument designs and compositions for these instruments. See PAS Hall of Fame. For a full biography, visit www.pas.org. partial. A given frequency in a complex harmonic mix of pitches. Keyboard percussion instrument bars are tuned so that specific partials predominate for the characteristic timbres of xylophones, chimes, and marimbas. PAS. Acronym for Percussive Arts Society. pas de charge (Fr.). A marching order for cavalry that means “full speed ahead” or “at the full gallop.” pas de cheval (Fr.). See horse hooves. PAS Hall of Fame. Established in 1972, the Percussive Arts Society (PAS)
Hall of Fame recognizes the contributions of the most highly regarded professional leaders in percussion performance, education, research, scholarship, administration, composition, and the industry. Nominees must have demonstrated the highest ideals and professional integrity to their profession. They must have brought about significant events, substantive improvements in the world of percussion, or contributed to the betterment of the profession through exemplary services or acts. A nominee must have a record of sustained (though not necessarily continuous) contributions to the field and be supportive of the philosophy and objectives of the Percussive Arts Society. Performing groups who have demonstrated the highest ideals and professional integrity to their profession may be considered for nomination. Posthumous nominees may be included. For a list of current members of the PAS Hall of Fame or to read their biographies, visit www.pas.org. PASIC. Acronym for Percussive Arts Society International Convention. See Percussive Arts Society. pasteboard rattle. See Waldteufel. patent number. A number assigned by a governmental patent office giving ownership to a specific invention or design for a limited number of years. patio xylophone. A quarter-tone xylophone constructed from redwood scraps and used for microtonal glissandos. patouille (Fr.). Archaic term for xylophone. patrol gong. See bell plate. pattigame (Af.-Ewe). A small, double-headed, metal-shell drum from Africa. While played with a stick in one hand, the other hand presses the head to change pitch. Pauk (Ger.). Abbreviation for Pauken. See timpani. Pauke, Pauken (Ger.). See timpani and timpano. Pauke in der Ferne (Ger.). Timpano from a distance (offstage).
Paukenfell (Ger.). See timpani and head. Paukenschlägel (Ger.). See timpani mallets. Paukenwirbel (Ger.). See timpani roll. Pauker (Ger.). Timpanist. pavilion (Fr.). See Turkish crescent. pavilion chinois (Fr.). See Turkish crescent. pax. A large, upright, single-headed drum with a skin membrane found in Aztec culture. Same as huehuetl, but from an earlier time period. Payson, Al (b. Jan 15, 1934). Elected to the Percussive Arts Society’s Hall of Fame in 2001 in the categories of author, composition, education, inventions, orchestral, publisher, and recording artist, Al Payson is best known for his career as a percussionist with the Chicago Symphony Orchestra. See PAS Hall of Fame. For a full biography, visit www.pas.org. pea whistle. A blown whistle with a loose, pea-sized pellet of wood, cork, or plastic inside the hollow chamber. See police whistle. peacock imitation. A blown whistle that imitates the call of a peacock. See traps. pearl wrap. A synthetic covering wrapped around the shell of a drum. Its construction process results in the appearance of a design within the clear plastic that resembles the inside of an oyster. peau (Fr.). Very thin leather (as in a calf skin drum head). peau de batterie (Fr.). See batter head. peau de tambour (Fr.). See drum head. peau de timbre (Fr.). See snare head. peau naturelle (Fr.). See skin head.
peau supérieure (Fr.). See batter head. pebbles. Two or more pebbles struck or shaken against each other. See prayer stones and stones. pedal cymbal. (1) Hi-hat. (2) A cymbal attached by a holder to the counterhoop of a drum set bass drum. The bass drum pedal has two beaters, one of which is metal and strikes the cymbal. pedal drum. See pedal-tuned timpani. pedal release mechanism. The clutch on a pedal-tuned timpani. pedal revolver. A foot-operated, mechanical device built with a pawl and ratchet design that is capable of firing up to 60 blank cartridges for a pistol shot effect or imitation. pedal timpani. See pedal-tuned timpani. pedal triangle and beater. A foot-operated mechanical device that moves a metal triangle beater that strikes a suspended triangle. pedal triangle with muffler. A foot-operated mechanical device that moves a metal triangle beater and then a muffler after striking a suspended triangle. Pedalbecken (Ger.). See hi-hat cymbals. pedale apèrto (It.). Open hi-hat pedal (cymbals apart). pedale chiuso (It.). Closed hi-hat pedal (cymbals together). pédale de la grosse caisse (Fr.). See bass drum pedal. pedale della gran cassa (It.). See bass drum pedal. Pedalpauke (Ger.). See pedal-tuned timpani. pedal-tuned timpani. Timpani that have the tension of the head adjusted by means of a mechanical foot-operated device. See hand-tuned timpani. pedal-tuned toms. Toms that are tuned by an internal tension ring operated by a
Bowden cable attached to a foot pedal. These were manufactured by Reno, a British drum company active ca. 1940 to 1970. Peddigrohr (Ger.). Flexible rattan handle. Peitsche, Peitschenknall (Ger.). Whip. See slapstick. Pekin call. See rooster call and traps. pèlle (It.). See skin head and drum head. pèlle battende (It.). See batter head. pèlle cordiera (It.). See snare head. pèlle superiore (It.). See batter head. pellet bell. A small, spherical bell with slit openings that has a freely moving ball (pellet) made of wood, metal, or plastic on the inside. Commonly used for sleigh bells, ankle bells, and wrist bells. peluche (Fr., Sp.). Plush or fluffy. penny whistle. An end-blown, tin whistle having, usually, six tones. Pep-tone Bells. Trade name for a set of four tuned cowbells. See Jazzerup and cowbell. pequeño (Sp.). Small. percossa (It.). See percussion. percuòtere (It.). To hit, beat, or shake. percusion (Sp.). See percussion. percussão (Por.). See percussion. percussion. Generic term for instruments that are sounded by being struck, shaken, or rubbed. Percussion instruments are organized and described using various means, including (1) definite- or indefinite-pitched instruments; (2)
method of sound production according to the Hornbostel-Sachs classification system (membranophone, idiophone, chordophone, aerophone, and electrophone); and (3) design of the instruments (drums, keyboard percussion instruments, cymbals, gongs, bells, rattles, shakers, sound effects, whistles, and traps). percussion section. The collective instruments or personnel who play percussion in a musical ensemble. See battery. percussion sticks. Sticks that are struck against one another or against other instruments. percussione (It.). See percussion. Percussive Arts Society (PAS). The Percussive Arts Society (PAS), headquartered in Indianapolis, Indiana, is the world’s largest organization of percussionists and drummers. Founded in 1961, and currently with chapters in all 50 states and 28 countries, its nonprofit mission is to promote appreciation of percussion through education, research, and performance. It publishes two journals, maintains an active online presence, and hosts an annual international convention (Percussive Arts Society International Convention or PASIC). Its research facilities include the Rhythm! Discovery Center, which boasts an instrument museum; archival holdings; and a library of music, recordings, and publications. Through partnerships with other music organizations and active committees, it maintains a significant leadership role in the world of percussion, including annual composition and performing competitions, Days of Percussion, and the PAS Hall of Fame. perdendosi (It.). Dying away. perforated drum shell. A design for a drum shell with a narrow row or rows of perforations running the entire circumference of the shell. This design allows maximum flow of air out of the shell when struck as well as a balanced humidity between the outside and inside of the drum when mounted with calf skin heads. This design was widely marketed by the Duplex Manufacturing Company in the early 20th century. perkusie (Pol.). See percussion. perkussion (Dan., Swe.). See percussion.
Persian tambourine. See riq. Persian temple bells. See camel bells. Peters, Gordon B. (b. Jan 4, 1931). Elected to the Percussive Arts Society’s Hall of Fame in 2004 in the categories of author, composition, education, orchestral, publisher, and recording artist, Gordon Peters is best known for his career as a percussionist with the Chicago Symphony Orchestra and for his book The Drummer: Man. See PAS Hall of Fame. For a full biography, visit www.pas.org. petia (Af.-Akan). A short, single-headed, carved wooden drum struck with sticks. petit (Fr.). Small or little. petit tambour (Fr.). Small snare drum. petite (Fr.). Small or little. petite caisse ancien régime (Fr.). Small snare drum from the old regime that is more shallow than a normal field drum. See rope drum. petite caisse claire (Fr.). Small snare drum or piccolo snare drum. petite cymbale suspendue (Fr.). Small suspended cymbal. petite cymbale turque (Fr.). Small Turkish cymbal. petite timbale (Fr.). See piccolo timpani. pī phāt. Instrumental ensemble from Thailand composed of trough metallophones, trough xylophones, tuned gongs, drums, and occasionally wind or string instruments. piano action glockenspiel. See keyed glockenspiel. piano Africano (Sp.). See marimba. piano felt. White felt. Though manufactured for piano hammers and dampers, piano felt is used to cover timpani and bass drum mallets or in the
construction of damper bars, mufflers, and mutes for percussion instruments. Piano Glocken (Ger.). See celesta and keyed glockenspiel. piano pins. See pin chimes. piano strings. The strings of a grand piano. These are struck by a mallet, plucked or struck by hand, or sounded by friction. Glissando effects are possible by pressing and moving a length of iron rod against the strings when they are sounded or still vibrating. piano without action. The sounding board of a piano, removed and mounted horizontally, in order to be struck, scraped, or plucked on the sound board, frame, and strings. pianoforte action resonophone (It.). See celesta. pianoforte glockenspiel (It.). See keyed glockenspiel. piatti (It.). Cymbals, usually a pair of crash cymbals. piatti a due (piatti a 2) (It.). Pair of crash cymbals. piatti a pedale (It.). See hi-hat. piatti antichi (It.). See antique cymbals. piatti attachi alla gran cassa (It.). See bass drum with attached cymbal. piatti bachetto di tymp (It.). Cymbal with a timpani stick. piatti soli (It.). Cymbals played alone, without bass drum. piatti sospesi (It.). See suspended cymbal. piatto (It.). One cymbal or suspended cymbal. piatto cinesi (It.). See Chinese cymbal. piatto fissato (It.). Fixed cymbal or suspended cymbal.
piatto solo con la mazzuola (It.). Cymbal solo with a mallet. This is a designation to only strike the cymbal when playing a part for bass drum and cymbals together. piatto sospeso (It.). See suspended cymbal. piatto sospeso con bacchetta (It.). A suspended cymbal struck with a stick. piatto sospesso al leggio (It.). A suspended cymbal attached to the bass drum. piatto unito alla gran cassa (It.). A cymbal attached to the bass drum. piccolo (It.). Small. piccolo boobams. Chromatically tuned plastic tubes mounted in a keyboard fashion that are played with mallets. Piccolo boobams produce a sound similar to boobams but higher in pitch. piccolo cassa (It.). Small snare drum or piccolo snare drum. piccolo drum. Small drum, usually without snares, and having a diameter of less than 14 inches and a shell depth of four inches or less. piccolo raganello (It.). Small ratchet. piccolo snare drum. Small, high-pitched drum with snares, approximately three inches in depth, with a diameter of less than 14 inches. piccolo timpani. Small timpani, approximately 20 inches or less in diameter, with a pitch range above F3. piccolo timpano orientalo (It.). A small timpano with a range of notes in the lower and middle treble clef. See timplipito. piccolo woodblock. Small woodblock with a sharp, piercing tone when struck. pickup, pick-up, pickup beat. See upbeat. pictograms. Visual representations of percussion instruments or mallets used as identifying symbols on music scores.
pied (Fr.). Foot or with foot pedal. piède (It.). Foot or with foot pedal. pierres (Fr.). See stones. pies. Slang word for cymbals on a drum set. piètra (It.). See stones. pig grunt. An instrument that imitates the rooting sound of a pig. See traps. pig tail. A twisted knot of rope that shortens the length of said rope on a rope drum.
Pikkolotrommel (Ger.). See piccolo snare drum. pin chimes. Approximately 40 metal pins (used in the construction of a piano) suspended in several rows and struck with the hand or a mallet. Similar in sound to bar chimes or a Mark Tree.
ping pong ball. A direction to use a ping pong ball as a striking implement. piòggia di effetto (It.). See rain machine. pipe. See metal pipe. pipe and tabor. Small, end-blown flute and small, doubleheaded snare drum played by one player during the 15th and 16th centuries. The drum is played with a single mallet while hanging on the arm holding the pipe. See tabor. pipe band bass drum. A narrow-depth, marching bass drum with a distinct performance style that features stick twirling and crossovers of the hands to the opposite head. Pipe bands and their drums typically participate in exhibitions and parades. pipelaphone. See tubaphone. This instrument, filed for a patent in 1888, is the first instrument manufactured and sold by the J. C. Deagan Company. pipes. Slang term for resonators on a keyboard percussion instrument. See metal pipes. pistol. See pistol shot. pistol shot. (1) A blank round fired from a hand-held pistol or revolver to imitate the sound of a gunshot. (2) A mechanical device that fires blank rounds to imitate the sound of a gunshot. (3) A slat of wood sharply struck on a leather pad to imitate the sound of a gunshot. See traps. Pistolenschuß (Ger.). See pistol shot. pistolettata (It.). See pistol shot. piston stroke. A stroke that begins at the full height of the stroke, descends directly down to the striking surface, and immediately returns to the original starting position. pit ensemble. Stationary instruments placed on the sideline of a football field or indoor venue for performances with a marching band, drum corps, or marching percussion ensemble. Also known as a front ensemble.
pitched bass drums. See tonal bass drums. pivot point. The primary contact place on a stick where the thumb and finger touch the stick. The portion of the stick in front of the pivot point moves in the opposite direction (up or down) from the portion of the stick behind the pivot point. plancha de campana (Sp.). See bell plate. planchette ronflante (Fr.). See bull roarer. planing mill. Instrument that imitates the sound of a log being cut into boards. See traps. plaque de métal (Fr.). See metal plate. plaque de tonnerre (Fr.). See thunder sheet. plastic marimba. See piccolo boobam. Plastikfell (Ger.). Plastic drum head. plate. (1) Cymbal. (2) A flat piece of metal, such as that used in a bell plate. plated. Adjective describing an instrument or piece of hardware having plating. plates. See crash cymbals. platillo (Sp.). See cymbal. platillo de dedo (Sp.). See finger cymbals. platillo suspenso (Sp.). See suspended cymbal. platillos a pares (Sp.). See crash cymbals. plating. A metallic covering, applied by electric current or oxidation, for a metal instrument or piece of hardware. Common types of metal plating are chrome and nickel. plato charles (Sp.). See hi-hat.
platos (Sp.). See cymbals. Plattenglocke (Ger.). See bell plate. playing area. The portion of a drum head, keyboard percussion instrument bar, cymbal, gong, or other instrument where one strikes or rubs to produce a sound. playing the ink. Slang phrase, often used in drum set charts, that means to play exactly the notes written on the music, with no ad lib. plover. A whistle that imitates the call of the plover. See traps. plucked drum. A bucket drum with a string attached to a head at the bottom that rises to a brace above the bucket. Once tensioned, the string is plucked. Pitch can be varied by moving the brace. Also known as an ektar. plugged hole. A hole in the shell of a drum that has been filled. These occur when new hardware, such as tension casings or strainers, is installed with new holes drilled to fit the hardware. For cosmetic appearance, the previous holes are often filled. plywood. Wood constructed of two or more layers (plies). The layers are arranged so that adjacent ones have grain running in a perpendicular direction. They are then glued and pressed together resulting in a strong bond. Plywood is used extensively in the construction of wooden drum shells. plywood on timp. A direction to place a thin sheet of plywood on the top of a timpano to create a resonant wood drum. Common practice is to cut the sheet to a circle of the correct size to match the head. pneumatic drum. A drum tuned by air pressure, usually constructed in such a manner as to have a length of airtight tubing running the circumference of the shell at the point where the drum head is attached to the shell. The pressure can be adjusted by a pump operated by either hand or foot. po. Pair of Chinese crash cymbals. pod rattle. A pea or bean pod that is dried with the seeds still inside. When
shaken the seeds rattle. See seed pod rattle. pod shakers. See pod rattle. podvéshennaya tarelka (Rus.). See suspended cymbal. pogremúshka (Rus.). See rattle. poing (Fr.). Fist. poing stroke. An American rudiment found in tutors of the 18th and early 19th centuries. Its only definition, given by Hazeltine in 1810, describes it as a light flam where the sticks strike near the hoop and strike the hoop at the same time as striking the drum. Similar to a modern rim shot. police patrol gong. See bell plate. police rattle. Large ratchet. police siren. A siren or klaxon as used on a police car, usually having a pitch that raises and lowers in pitch. police whistle. A metal whistle with a pea or a small cork pellet inside a hollow chamber. When blown, the pellet creates a fast flutter sound. Also known as a pea whistle or referee’s whistle. See Acme. politshkoi (Rus.). Soft mallet. Polizeiflöte (Ger.). See police whistle. pollice (It.). Thumb. Polynesian slit drum. A hardwood log with a single slit running the length of the log creating two primary tones. Struck with one or two hardwood sticks. polyrhythm. Two or more distinctly different rhythms simultaneously performed, usually by different performers in a piece of music, or on different instruments by one or more performers. pon. A laced, single-headed, clay goblet drum from Thailand. Played with the hands, it is a member of the pī phāt ensemble.
pond frog. A small friction drum that imitates the sound of a pong frog. See Waldteufel. pop gun. An instrument designed to imitate the popping of a champagne bottle. It consists of a length of wood or metal tubing with a cork attached to a plunger by a string running inside the tube. When compressed, the plunger pops the cork from one end of the tube creating a pop. posée à plat (Fr.). Laid flat. post. (1) A solid metal post attached to a drum counterhoop or stand to which is attached other small instruments or holders, such as cowbells, woodblocks, cymbals, or triangles. (2) A supportive lug on the shell of a drum through which a tension rod runs, or to which it is attached. Drums with deep shells, such as early 20th-century, wooden bass drums, often have a double-post construction with a single-tension rod. postman’s whistle. A two-toned, metal whistle. See traps. pot drum. See udu pot. pot lids. Resonant metal lids from cooking pots. These are usually mounted upside down on a board in a variety of sizes and struck with mallets imitating the sound of small gongs. pot metal. Colloquial term for metal made from alloys having a low melting point. Commonly used to make cast lugs, mounts, pedals, and other hardware on drums. Not as strong as steel or iron, pot metal castings are prone to breaking under heavy use. potato-chip oop-gopi. An instrument constructed from a large tin potato chip can. The bottom of the can is removed and a string is attached to the plastic lid, run through the can, and attached to a wooden spool. The string is plucked while pressure is applied from the spool producing a tremolo, boing, or wobbling sound, similar to the oop gopi found in India. pots and pans. Assorted sizes of metal pots and pans, usually suspended by cord, placed on a padded surface or held in the hand and played with mallets. When struck, pans can be rapidly turned to produce creative timbre changes or glissando effects.
pouce (Fr.). Thumb. pow wow drums. See American Indian drum. practice pad. A device constructed with the feel and rebound of a drum head, but which has much less volume of sound. Often made of rubber, they are usually the same or smaller diameter or diameters of the drums they aim to emulate. When made with an actual drum head, the pad can be tuned to adjust the rebound to personal preference.
prato de bronze (Bra.). See cymbal. pratos (Por.). Plates. See crash cymbals. Pratt, John S. (b. Jan 13, 1931). Elected to the Percussive Arts Society’s Hall of Fame in 2002 in the categories of author, composition, education, and rudimental, John S. Pratt is best known for his position with the U.S. Army “Hellcats” Drum and Bugle Corps and for his extensive rudimental snare drum compositions that are compiled in several books, including 14 Modern Contest Solos. See PAS Hall of Fame. For a full biography, visit www.pas.org. prayer bells. See dobači and dharma bells. prayer stones. Two small, smooth, flat stones that are struck or clicked together while one is held in the palm of a hand. By changing the shape of the hand a wide variety of tones can be produced.
prendre (Fr.). Change to or take. prenez glockenspiel (Fr.). Go to glockenspiel. prenez le tambour (Fr.). Go to the snare drum. prep. Short for preparatory, this is a preliminary motion or position used by a performer or group of performers, such as a drumline, to establish consistent timing and a rhythmically accurate beginning sound with the ensemble. près de rebord (Fr.). Near the edge or near the rim (counterhoop). presentation drum. A drum manufactured with the intent of being given as a gift to an individual. Popular during the late 18th and early 19th centuries, these were often given as military presentations for recognition of veterans or to performers when retiring or leaving an organization. They often have some type of engraving or plaque attached to commemorate the recipient of the instrument.
presque lent et d’un rythme très libre (Fr.). Slow, with a very liberal tempo. press roll. A sustained sound produced by rapid, alternating multiple-bounce strokes, generally thought to have more pressure on the head than a controlled concert roll. Also used for short rolls, it can be one or both sticks pressed into the head for a strong jazz effect or a buzzed, accented note. pressed metal lug. A tension casing that is made from stamped sheet metal. pressed steel. A process whereby hardware is made by stamping the piece from a thin sheet of steel. pressez (Fr.). Moving ahead (stringendo). pressez beaucoup (Fr.). Moving ahead a great deal. Preßwirbel (Ger.). See press roll. pre-tuned drum head. A drum head permanently mounted with correct
playing tension to a flesh hoop or counterhoop. This type of head usually clips to the shell or lies over the shell and requires no additional tension when installed. Price, Paul (May 15, 1921–Jul 10, 1986). Elected to the Percussive Arts Society’s Hall of Fame in 1975 in the categories of composition, education, and orchestral, Paul Price is best known for establishing the first accredited percussion ensemble course at the University of Illinois in 1956, for being professor of percussion at the Manhattan School of Music from 1957 to 1986, and for his publishing company Music for Percussion. See PAS Hall of Fame. For a full biography, visit www.pas.org. primary instrument. (1) The main instrument of choice for a percussionist. As most percussionists must play a multitude of instruments, the process of learning is often built around a single instrument, such as a snare drum, keyboard percussion instrument, timpani, hand drum, or drum set. (2) The main instrument used when setup logistics create a need for two of the same instruments performed by one or more players. prisme de pluie (Fr.). See rain machine. Pritsche (Ger.). See slapstick. protubérance du milieu (Fr.). See bell (of a cymbal). provencal tambourine (Fr.). See tabor. provenzalische Trommel (Ger.). See tambourin provençal. Prussian snare drum. A double-headed, single-tension snare drum, usually 14 by 6 inches in size, with a wood or metal shell. It is mounted with a belt clip and has a leg rest for marching during military maneuvers. pte. cymb (Fr.). Abbreviation for petite cymbale (small cymbal). puelli sticks. See pu’ili. Puente, Tito (Apr 20, 1923–Jun 1, 2000). Elected to the Percussive Arts Society’s Hall of Fame in 2001 in the categories of band leader, composition, ethnic music, radio/television, and recording artist, Tito Puente is best known
for his performances of Latin American music as leader of his own band while playing timbales. See PAS Hall of Fame. For a full biography, visit www.pas.org. pugno (It.). Fist. pu’ili, puili. Lengths of cylindrical, hollow bamboo tubes split with several slits running a majority of the length of the rod. Played in pairs, they are struck against each other, on the floor, or against the body. Native to the south Pacific islands, they are commonly used for traditional love dances. puita. South American friction drum. pulgar (Sp.). Thumb. pulgaretas (Sp.). Small Spanish castanets. pull. See ear. pulli-pulli. See pu’ili. pulsator shaft. The bar of rotating fan blades on a vibraphone. punch. Slang word for a solid, bass drum accent on drum set, often used as a supporting figure for other instruments in a jazz band, popular band, or orchestra. It also refers to when the bass drum is tuned to have a focused, non-booming sound. puño (Sp.). Fist. push button bell. See desk bell. push pipe. Wooden slide whistle. Pyralin. A pyroxylin plastic celluloid compound used as the basis for shell wraps by the Leedy Manufacturing Company for their marine pearl and sparkle wraps beginning in the 1920s. Pyralin is a trade name registered by DuPont.
Q quads. See tenors (marching). quail call. A whistle instrument that imitates the sound of a quail. This is the same sound as a bob white call. See traps. quarter-sawn, quartersawn. A method of cutting wood logs so that the growth rings run perpendicular to the width of the lumber resulting in a more rigid board. It is the opposite of rift sawing, which is more pliable and easier to bend. Used for keyboard percussion instruments.
quarter-tone xylophone. A xylophone tuned in quarter-tones and laid out in one row. It is used for microtonal glissandos as a sound effect in film scores. quartet wood block. An early jazz instrument with four gradated sizes of woodblocks that are mounted together on a holder that attaches to the bass drum hoop of a drum set. See traps. quasi cannóne (It.). Like a cannon. quasi gliss sempre (It.). Always like a glissando.
quattro bell (It.). See cowbell. queue (Fr.). Tail. This refers to the butt end of a drum stick. quica (SA). See cuíca. quick-release bracket for toms. Hardware that allows immediate removal of a tom from a drum set, yet maintains the same position for remounting. It is usually operated by a single lever, spring, or button. quick-release spurs. Spring-operated bass drum spurs that release, then fold up and away from the floor. quick-step pedal. See snowshoe pedal. quijada (Sp.). Jawbone of an ass. It is a vibrating rattle made from the lower jawbone of a donkey or mule. See vibraslap.
quika (SA). See cuíca. quint tuning. The process of tuning keyboard percussion instrument bars so that the predominant overtone is the interval of a 12th (octave and a fifth). Developed by Herman J. Schluter of the J. C. Deagan Company in 1927, this tuning is used for xylophones and causes them to have a brilliance, unlike the marimba, which has bars tuned with a predominant overtone of a 15th
(two octaves). quinto (Br.). The smallest sized conga drum. quints. See tenors (marching). quyada (Fr.). See quijada. qweeka (SA). See cuíca.
R R & B. Abbreviation for Rhythm and Blues. R, r. Abbreviation for right hand or right hand full stroke (uppercase) and tap stroke (lowercase). R.I.M.S., RIMS. Abbreviation for Resonance Isolation Mounting System, a hardware mounting system for toms on a drum set. It was invented by Gary Gauger in 1980. Rabbio, Salvatore (b. Jul 27, 1934). Elected to the Percussive Arts Society’s Hall of Fame in 2013 in the categories of education, orchestral, and timpani, Salvatore Rabbio is best known for his 40-year career as a timpanist with the Detroit Symphony Orchestra. See PAS Hall of Fame. For a full biography, visit www.pas.org. rack system, rack mount system. A method of mounting toms, cymbals, and other drum set instruments to a bar or tube frame, rather than to the shell or counterhoop of the bass drum. This allows for a sturdier and usually faster setup and tear down of the instruments. rack tom. A tom mounted above the bass drum in a drum set. It can either be mounted directly to the drum, to a holder attached to the bass drum, or using a rack mount system. See hanging tom and mounted tom. racle (Fr.). See rasp and scraper. racleur (Fr.). To rasp or to scrape. raft zither. An East African zither with a body constructed from canes tied together like a raft. Although seeds are contained within the body and rattle when shaken, the main sound is produced by plucking the strings, which are suspended across the body. raganèlla (It.). See ratchet.
Rahmantrommel (Ger.). See Rahmentrommel. Rahmenrassel (Ger.). See frame rattle. Rahmentrommel (Ger.). See frame drum. rail board. Wooden board on a keyboard percussion instrument that supports the bars. It usually has a series of spaced, bar-separating pegs inserted along the top into which the bar cord is suspended. rail d’acier (Fr.). Steel rail or steel bar. railroad bell. See fight bell, bell plate, and traps. railroad crossing gong. See bell plate and traps. railroad imitation. An instrument that imitates the sound of a locomotive engine speeding up or slowing down. See locomotive and traps. railroad whistle. See locomotive whistle. railway engine imitation. See locomotive. rain imitation. See rain machine, rain stick, ocean drum, and traps. rain machine. An instrument that imitates the sound of rain. It consists of a rotating tumbler with several flat sides to allow internal pellets to fall from one side to the next, creating a steady sound like raindrops. A similar, betterknown design is the rain stick; it has internal needles against which pellets strike as it is held in a vertical position. rain stick, rainstick. An instrument that imitates the sound of rain. It consists of a hollow tube filled with small pellets. The walls of the tube have needles or spines that project inward from the side, which are struck by the falling pellets as the tube is held in a vertical position.
rainmaker. See rain machine and rain stick. ranad ek, ra-nad ek (Th.). See ranāt ēk. ranāt, ranet, ranad (Th.). A family of xylophones and metallophones from Thailand and Cambodia. They include the ranāt ēk, ranāt thum, ranāt ēk lek, and ranāt thum lek and are used in the pī phāt ensemble. ranāt ēk, ranad ek, ranet ek (Th.). A 21-note trough xylophone found in the pī phāt ensemble of Thailand and Cambodia. Tuned in a heptatonic scale, its rosewood bars are usually played in octaves by two yarn-wrapped beaters. ranāt ēk lek (Th.). A 21-note metallophone found in the pī phāt ensemble of Thailand and Cambodia. Its bars are suspended over a rectangular sounding box and played with two padded bamboo sticks.
ranāt thum, ranad tum (Th.). An 18-note trough xylophone found in the pī phāt ensemble of Thailand and Cambodia. Its bamboo bars have a lower range than the ranāt ēk, and it functions as an accompanying instrument. ranāt thum lek (Th.). A 21-note metallophone found in the pī phāt ensemble of Thailand. Its bars, which have a lower range than the ranāt thum, are suspended over a rectangular sounding box and played with two padded bamboo sticks. Rand (Ger.). Rim or edge. Rand und fell zugleich schlagen (Ger.). Strike the rim and the head at the same time. See rim shot. Randschlag (Ger.). See rim shot. râpe (Fr.). See rasp. râpe à fromage (Fr.). Cheese grater, a metal rasp. râpe de bois (Fr.). A wooden rasp. râpe de métal (Fr.). A metal rasp. râpe güiro (Fr.). See güiro. râper (Fr.). To rasp. râpeur (Fr.). See rasp and scraper. rasch abdämpfen (Ger.). Quickly dampen. rasp. A block or stick made of gourd, wood, plastic, or metal, with grooves cut crosswise on the body. It is scraped with a small stick, similar to the güiro. raspa (It., Sp.). See rasp and scraper. raspa di metallo (It.). A metal rasp or scraper. raspadero (Sp.). See rasp and scraper.
raspador (Sp.). See rasp and scraper. raspador metal (Sp.). A metal rasp or scraper. raspar (Sp.). To rasp or scrape. raspare (It.). To rasp or scrape. Raspel (Ger.). See rasp and scraper. rasper. See rasp. rasping stick. A wooden stick with grooves cut crosswise in the body, scraped like a rasp. raspo (It.). See rasp and scraper. Rassel (Ger.). See rattle. Rasseltrommel (Ger.). Rattle drum. See monkey drum. Rassem cymbal. Trademark name for early jazz cymbals sold by the Carlton Company. Made from brass, they had deep bells, were available in paper thin or thick weights, and ranged in size from 10 to 14 inches. ratamacue. A standard drum rudiment composed of a one, two, or three drags at the beginning of a single triplet rhythm. See appendix N, “PAS 40 International Drum Rudiments.” ratchet. A wooden cogged wheel that is turned by a crank or spun on a handle, causing wooden slats to flex and strike against the teeth of the cog. Also known as a rattle, and used as an alarm in the late 19th and early 20th centuries. Fr. crécelle; Ger. Ratsche; It. raganella; Sp. carraca, matraca.
ratchet-and-pawl clutch. A locking mechanism where a movable serrated edge fits into an opposing fixed serration. The movable edge, called the pawl, is fitted into a levered clutch release. This method is commonly used for holding tension on timpani.
ratio xylophone. A three-octave, diatonic xylophone with bamboo keys. Designed by Harry Partch, it is tuned to pure temperament ratios in the key of G minor. Ratsche, Ratschen (Ger.). See ratchet. rattan. A thin stem cane from a climbing palm that is used as a flexible handle for sticks, beaters, and mallets. See Malacca cane. rattle. An instrument that creates noise by loose items when shaken or beaten. It may be a hollow container with loose items inside, such as maracas, or a device with parts that clatter against each other, such as a series of bones, hooves, or sticks strung together. See ratchet. rattle board. A wooden board with a swiveling metal striker. When rotated back and forth it sounds similar to striking a wooden table with sticks. rattle drum. See monkey drum. rawhide chime beater. A beater for chimes having a rolled, rawhide beater head mounted on a wooden handle. rebord (Fr.). Play at the edge or on the rim. receiving tubes. Internally threaded tubes that are inserted into a lug casing to receive the tension rod. See lug. rechtes Fell (Ger.). The right drum head or the drum on the right-hand side. rechts (Ger.). Right or on the right hand side. reclamo (Sp.). See bird call. reco de vomo. A gourd scraper combined with two bells developed by Emil Richards. Notched on the neck of a calabash gourd, it has two tin bells attached at the bottom of the neck, where the gourd is cut off horizontally. réco-réco (Por.). A generic term for a güiro-type instrument originally made from a length of hollow bamboo with cut grooves. In Brazil it indicates a metal güiro, with modern instruments having a metal body and two or more
metal springs mounted on top. The instrument is played by scraping the groove or springs with a stick. redoblante (Sp.). See tenor drum. redoble (Sp.). See drum roll. Regaltip. A drum stick company founded by Joe Calato. The Calato company is best known for the development of the nylon-tipped drum stick. Regenmaschine, Regenprisma (Ger.). See rain machine. reggipiatto (It.). See cymbal stand. reggitamburo (It.). See drum stand and snare drum stand. regimental drum. A field drum or parade drum primarily used with fanfares or parades for military music. It is usually emblazoned with a coat of arms, regimental emblem, or nationalistic symbols. regolatore delle corde (It.). See snare strainer. Reibtrommel (Ger.). See friction drum. Reich, Steve (b. Oct 3, 1936). Elected to the Percussive Arts Society’s Hall of Fame in 2007 in the categories of author, band leader, composition, and recording artist, Steve Reich is best known in the percussion field for his seminal works for percussion ensemble, which use minimalistic compositional structures. See PAS Hall of Fame. For a full biography, visit www.pas.org. Reifen (Ger.). See counterhoop and rim. Reihenklapper (Ger.). See bin-sasara. reinforcement ring. A thin length of wood or metal that encircles the shell of a drum on either the inside or outside. Its purpose is to reinforce the shell. It can be positioned at the bearing edge or the center of the shell, and is often positioned at a point where hardware is attached to the shell.
reinforcing hoop. See reinforcement ring. remote hi-hat. A hi-hat operated by a flexible length of Bowden cable allowing the cymbals to be placed at a location away from the foot pedal. See hi-hat. repeater. See pistol shot. repenique. See repinique. repicador (Sp.). A small, conical-shaped barrel drum made of wood with skin
heads. Similar to a large bongo, it is played with two hands for Cuban music. repinique (Por.). A metal, tunable tom tom, played with two thin sticks. It is the tenor voice in the Brazilian samba band. reprenez (Fr.). Repeat or continue. reque-reque (Por.). A scraped instrument, similar to the réco-réco. requinto (Sp.). Smaller Guatemalan marimba found in the Mexican marimba doble ensemble. reso. Truncation for resonant head or resonating head. resonant head, resonating head. The non-batter head on a double-headed drum. It provides sympathetic resonance on a snare, tom, bass drum, or tenor drum. Resonanzkastenxylophone (Ger.). See trough xylophone. Resonanzrohr, Resonanzrohren (Ger.). See resonator and resonators. résonateur (Fr.). See resonator. resonator. A hollow gourd or tube that strengthens the volume of the tone of an instrument such as a mbira or tone bar. See resonators. resonator tambourine. A tambourine having the jingles mounted inside the hoop rather than in slots cut into the shell. The pairs of jingles are mounted between two metal rings underneath the head. Resonatoren (Ger.). See resonators. resonators. A set of hollow gourds, tubes, or boxes that strengthens the volume of the tone for each bar of a keyboard percussion instrument. Each tube is closed at one end at a length equal to one-quarter of the vibrating column of air for the given pitch. See marimba, xylophone, and vibraphone. reso-reso (It.). See réco-réco.
ressort (Fr.). Spring. See clock chimes and coil spring. reverse paradiddles. A modified rudiment. It has a sticking that exchanges the first and last pair of notes for single paradiddles resulting in a sticking of RRLR,LLRL rather than RLRR,LRLL. See rudiments and appendix N, “PAS 40 International Drum Rudiments.” revolver, revolver shot. A hand-held pistol with a revolving chamber that holds several blank rounds. It is used to imitate the sound of up to six pistol shots without reloading. rhombe (Fr.). See bull roarer. rhythm logs. See slit drum. rhythm sticks. Two wooden dowels that are either struck together or on the floor. Rhythm sticks can have smooth or notched surfaces and are commonly used in elementary music education. Rhythmusstöcke (Ger.). See rhythm sticks and percussion sticks. rhythophone. An instrument manufactured by Walberg & Auge that consists of two double-headed drums mounted vertically, one above the other, with the heads facing to two sides. Each of the four heads are tuned to different pitches allowing a player to strike four tones on two drums using horizontal stroke motions. ribbon crasher. An instrument consisting of several small, curved metal strips loosely mounted on top of each other. When struck with a stick, it creates a short, rattling, crash sound.
ribeba (It.). See jew’s harp. Rich, Buddy (Sep 30, 1917–Apr 2, 1987). Elected to the Percussive Arts Society’s Hall of Fame in 1986 in the categories of band leader, drum set, and recording artist, Buddy Rich is best known as the most technically advanced drum set artist of the 20th century and for leading the Buddy Rich Big Band. See PAS Hall of Fame. For a full biography, visit www.pas.org. Richards, Emil (Emilio Joseph Radocchia) (b. Sep 2, 1932). Elected to the Percussive Arts Society’s Hall of Fame in 1994 in the categories of author, ethnic music, inventions, keyboard percussion, radio/television, recording artist, sound engineer, and total percussion, Emil Richards is best known as one of the most-recorded film score musicians in Hollywood. See PAS Hall of Fame. For a full biography, visit www.pas.org. richiamo de uccelli (It.). See bird call. ricopèrta (It.). Covered (with). ricopèrta de lana (It.). Covered with or wrapped in yarn, for example, yarn mallets. ricopèrta in pelle (It.). Covered with leather (the head of the mallet), for example, a leather mallet. ricopèrto (It.). Covered (with). ride cymbal. A suspended cymbal on a drum set approximately 18 to 24 inches in diameter that is played by a stick. It functions as the timekeeper for
jazz, rock, and other popular music. rifle shot. See pistol shot. right-hand lead. A system of sticking whereby the right hand, usually the stronger, is assigned to always play the strongest notes of a beat, meter, or rhythm and the left hand plays the weaker notes, thereby following the right hand. rim. See counterhoop. rim shot, rimshot. A stroke where the tip of a drum stick strikes the head at the same time that the shoulder of the stick strikes the counterhoop (rim) producing a sharp, penetrating crack sound, sometimes with a substantial ringing of overtones. See stick shot. rinding (Jav.). See jew’s harp. ringing stones. See lithophone. ripple roll. See Musser roll. riq, riqq. Arabian frame drum, between 7 and 10 inches in diameter, with 10 pairs of jingles mounted in five double slots cut into the frame.
ritmo di quattro battute (It.). In four. ritmo di tre battute (It.). In three. rivestita (It.). Covered or wrapped. rivet. (1) A metal fastener that pins two pieces of metal together by flattening the ends of the fastener after being inserted through aligned holes in each piece. (2) A metal fastener that is loosely inserted into holes in a suspended cymbal. This results in a buzzing sound when the cymbal is struck. See sizzle cymbal. rivet cymbal. See sizzle cymbal. rivoltèlla (It.). See revolver, gun, and pistol. rivoltellata (It.). See revolver shot and pistol shot. RMR. Acronym for Rim-Middle-Rim. Play on the counterhoop alternating with the center of the drum head. rnga. A large, double-headed barrel drum held aloft vertically by a handle attached to a narrow wooden shell. It is struck by a single, long-handled beater for ceremonial music in Tibet. Roach, Max (Jan 10, 1924–Aug 16, 2007). Elected to the Percussive Arts Society’s Hall of Fame in 1982 in the categories of band leader, composition, drum set, and recording artist, Max Roach is best known for his pioneer drum set recordings in the bebop style with such artists as Dizzy Gillespie and Charlie Parker. See PAS Hall of Fame. For a full biography, visit www.pas.org. robin songster. See nightingale bird call. rocar (Por.). A shaken rattle consisting of several rows with a total of 20 to 30 pairs of jingles set into a frame. It is an integral part of Brazilian samba bands. rock, rocks. See stones.
rock and roll shaker stick. A jingle stick used for studio recording of rock and roll tambourine sounds. It has four to six pairs of heavy tambourine jingles. rock gong. See lithophone. rock harmonica. See lithophone. rock salt wind chimes. A series of natural rock-salt pieces cut from the earth and suspended from half of a coconut shell. The shell acts as a resonating body when the salt pieces are stuck, blown, or shaken together. rock splitter. An instrument that imitates the sound of drilling or splitting rock. See traps. rockets. See octobans. rod, rods. See tension rod. Rods. A bundle of dowel rods manufactured by Promark known as Hot Rods, Cool Rods, and H-Rods. See brushes. Rohr (Ger.). Rattan or bamboo. Röhrenglocken (Ger.). Tubular bells. See chimes. Röhrenglockenspiel (Ger.). Tubular bells. See chimes. This can also be translated as a glockenspiel with resonators, known as song bells during the early 20th century. Röhrenholztrommel (Ger.). A cylindrical woodblock. Röhrenrassel (Ger.). A tubular rattle. Röhrentrommel (Ger.). See barrel drum. Rohrschlegel (Ger.). Rattan or cane stick. Rohrstäbschen (Ger.). Sticks made of rattan. Rohrsteil (Ger.). Cane handle.
roll. A method of producing a sustained sound on a percussion instrument by rapidly alternating sticks or mallets. A roll can have a specified or unspecified number of sounding strokes. See multiple-bounce roll, rudiments, and appendix N, “PAS 40 International Drum Rudiments.” roll off. A rhythmic pattern, usually eight beats in length, played by the drummer or drumline in a marching band as a signal for the band to begin playing a musical selection. roll-away trap console. A rack system on wheels for use with a drum set during the 1930s. It often had a flat tray on top for sound effects and was shaped or sized exactly to the bass drum. rolled-over top hoop. A design for metal counterhoops whereby the top edge of the hoop was rolled over to the outside 180 degrees. This created a small double wall for strength and did not damage sticks as much as the single edge. roller hooks. A hook with a rolling bearing that attaches a rope to the top of the counterhoop on a rope drum for the purpose of tensioning the drum head. See rope drum. Rolliertrommel (Ger.). See tenor drum. rollo (It.). See roll and drum roll. Rollschellen (Ger.). See pellet bells and sleigh bells. Rolltrommel (Ger.). See tenor drum. rómbo sonore (It.). See bull roarer and friction drum. rommel pot. European friction drum from the 1600s. The body is a small clay pot covered with a skin head that has a stick attached in the center. It is played by rubbing the stick by hand or with a wet cloth, or rosined cloth. roncador. A friction drum from Latin America. roof tile. A sound effect that imitates a person walking or running on a tile roof. It can be easily achieved by using soft plastic mallets on old marimba.
roof tile marimba. A marimba constructed with bars made from graduated clay or ceramic roof tiles. It is played using hard marimba mallets. A substitute is to play a wood bar marimba using very hard yarn mallets. rooster crow. A whistle that imitates the crow of a rooster. It can imitate several specific breeds, such as a Bantam, Dunghill, or Shanghai rooster. See traps. rooter, rooting can. See squawker. rope drum, rope tension drum. A double-headed military drum that is tensioned by a single rope strung between both counterhoops and tightened by leather ears. The rope alternates between each hoop in a zig-zag pattern and is finished off in a special knot called a pig tail. In addition, the remaining rope, called the drag rope, is tied in a long, decorative pattern, hangs below the drum, and is used to carry the drum when not being played. Leather ears connect two sections of rope in order to adjust tension on two skin heads by sliding up and down the rope. Gut snares are attached to the bottom of the drum with several different types of mounting systems, some of which adjust the tension only, such as the J-hook strainer, with a brass stud on the opposite side of the strainer, around which the strands of gut are looped. When no on-off system is present, a snare stick is inserted between the snares and the bottom head in order to create a muffled drum effect. Rope drum shells are typically solid, steambent shells that are overlapped, glued, and reinforced with a tacked seam or tack pattern that may identify the manufacturer. Counterhoops are made of wood and use holes or claw hooks to attach the tension cord or rope, sometimes having a brass glider at each point the rope crosses the counterhoop. Rope drums are often painted or emblazoned, and brass feet are sometimes mounted to the counterhoop in order to protect the rope and hoop when laid flat on the ground. A rope loop, brass ring, or carry hook is attached to the top counterhoop and is used with a carry sling when marching with the drum.
Rosenberger, Walter (Nov 2, 1918–Jul 27, 2013). Elected to the Percussive Arts Society’s Hall of Fame in 2010 in the categories of education, orchestral, radio/television, recording artist, and theater, Walter Rosenberger is best known for his 39-year career as a percussionist in the New York Philharmonic, being principal percussionist from 1972 to 1985. See PAS Hall of Fame. For a full biography, visit www.pas.org. rosewood. A hard wood native to Honduras in Central America, preferred as a material to construct bars for keyboard percussion instruments. rotary stroke. A stroke produced by rotating or twisting the wrist. The rotation can be to the outside, the inside, or an alternating continuous rotation. rotary-tuned timpani. Timpani that increase or decrease the tension of the head by turning the entire bowl and counterhoop of the drum. This is accomplished by a single master screw set at the bottom center of the bowl that adjusts the pull on all tension rods simultaneously. rotin (Fr.). See rattan and mallets.
roto tom, roto-tom. See rototom. roto tom accordé manuellement (Fr.). Hand-tuned rototom. roto tom afinado a mano (Sp.). Hand-tuned rototom. Roto Tom hangestimmt (Ger.). Hand-tuned rototom. rotosound. A bronze disc manufactured by Paiste measuring seven, eight, or nine inches in diameter with a slight taper to the edge. When struck, it produces a bell-like sound and can be mounted on a rotating spindle for an unusual vibrato effect. rototom, rototoms. A single-headed, tunable drum mounted between two retaining spokes. The drum has no shell and is tuned by rotating the entire drum. When rotated, the master screw, which is fixed to a stand, causes the lower spoke to raise or lower against the bottom of the head, thereby changing pitch of the drum. These are often mounted in sets of two or three, and are made in 6-, 8-, 10-, 12-, 14- and 16-inch diameters. Invented by composer Michael Colgrass and percussionist Al Payson and known as “Colgrass drums,” the rototom was improved and marketed by Remo Inc.
roue de loterie (Fr.). Roulette wheel. roulante (Fr.). Rolling. roulement (Fr.). See drum roll. roulement avec 2 baguettes (Fr.). Roll with two mallets. rouler (Fr.). To roll. roulez (Fr.). See drum roll. round top bells. A high-quality design of orchestra bells by the Deagan Company. First made in the early 20th century, the bars have rounded top and bottom sides that cause them to have excellent sustain and to produce quality glissando effects. This design established the modern standard for the instrument’s design and vintage instruments are still highly desired by professional players.
row rattles. A rattle made by stringing together a number of small items, such as sea shells, animal teeth, small animal hooves, bones, or fruit husks. They are sounded by shaking or striking. rudimental drumming. A drumming style based on the use of standard drum rudiments as established by the historical practice of military marching beats and calls. The style consists of both well-established solos used as Camp Duty, as well as newly created beats and solos constructed from rudiments. See appendix N, “PAS 40 International Drum Rudiments.” rudiments. Codified sticking and rhythmic patterns that function as the core of drumming technique. They are equivalent to scales and chords for melodic or harmonic instruments. There are over 40 such patterns used in the rudimental style of snare drumming. See hybrid rudiments and appendix N, “PAS 40 International Drum Rudiments.” ruff. A standard drum rudiment consisting of a main note preceded by two or more grace notes. Ruffs are usually thought to use alternating sticking for grace notes, but the historical drag, often called a ruff, used a double stroke. See drag and appendix N, “PAS 40 International Drum Rudiments.” ruggito di leóne (It.). See lion’s roar. rugir de león (Sp.). See lion’s roar. rugissement de lion (Fr.). See lion’s roar. Rührtrommel (Ger.). See tenor drum. Rührtrommel mit Saiten (Ger.). See field drum and parade drum. Rührtrommel tief (Ger.). Deep shell, or long tenor drum See tambourin de provençal. rukinzo (Af.). A vessel-shaped, wooden drum with a zebrahair head laced to the top using gut. The lacing runs the entire length of the vessel to a cord at the bottom. Originating in Burundi, when it appears in Sudan it is called a kettle drum. rullare (It.). To roll.
rullio (It.). See drum roll. rullo (It.). See drum roll. Rumbabirne (Ger.). See maracas. Rumbahölzer (Ger.). See claves. Rumbakugeln (Ger.). See maracas. Rumbastäbe (Ger.). See claves. running down a rudiment. Slang phrase meaning to begin a rudiment slowly, about one note per second, gradually speeding it up to its fastest speed and then slowing it down to the original starting speed. Also known as openclose-open. Rute, Ruthe (Ger.). A bunch of twigs, wooden rods, or thin sticks tied together at one end. Also see switch. Fr. verge.
S Sabian. Founded in 1981 by Robert Zildjian, the son of Armand Zildjian, Sabian is a major cymbal manufacturer whose headquarters are in Meductic, New Brunswick, Canada. The company is named for his children, Sally, Billy, and Andy, using the first two letters from each of their given names. Sabian is one of the world’s largest cymbal manufacturing companies with distribution in over 120 countries. sablier (Fr.). See sandbox. Säge (Ger.). See musical saw. Saiten (Ger.). See snares. Saitenfell (Ger.). See snare head. Saitenschraube (Ger.). See snare strainer. sake barrel. A small wooden barrel struck on its lid with wood sticks. Sakefaß (Ger.). See sake barrel. Salmon, James D. (Nov 6, 1914–Mar 26, 1989). Elected to the Percussive Arts Society’s Hall of Fame in 1974 in the categories of education, orchestral, and radio/television, James Salmon is best known for being professor of percussion at the University of Michigan from 1954 to 1972. See PAS Hall of Fame. For a full biography, visit www.pas.org. samba (Af.). A rectangular, African frame drum, about 14 inches in diameter. samba band. A musical ensemble that plays Brazilian samba music having origins in the carnival traditions of Rio de Janeiro. Though most bands consist of percussion instruments, they do sometimes have string or wind instruments and singers. samba whistle. A Latin American metal whistle with three tone holes that
produce three different pitches. sample. A digital recording of an acoustic instrument or sound. Samson hand horn. See automobile horn and traps. sanctus bells. Small metal hand bells attached in sets of three or four to a crosspiece with handle for use in Catholic Mass. They are also known as altar bells, Mass bells, or Sante bells and are usually made of brass. Fr. clochettes pour la messe; Ger. Messklingeln; It. campanelle da messa. sand blocks, sand blox. See sandpaper blocks. sand board. A large, flat board covered with sandpaper. Sandpaper blocks or sticks are rubbed against it for sand dance or surf effects. It can also serve as a hard board against which horse hooves are struck. See traps. sand dance blocks. See sandpaper blocks. sand jig imitator. Carborundum sheets of sandpaper that have an adhesive side. This allows performance with bare hands and does not require the sandpaper to be affixed to a sandpaper block. Jig refers to a sand dance, which was popular during the early 20th century. sand rattle. Small metal tube filled with sand. Also see sandbox. Sandbilchse (Ger.). See sandbox. Sandblöcke (Ger.). See sandpaper blocks. sandbox. Small metal container with flat sides that is filled with fine grain sand or shot. Sandbüchse (Ger.). Tin can that is filled with sand, similar to a metal maraca. sandpaper blocks. A pair of small blocks with sandpaper attached to one side of each block. Sometimes having handles, the two blocks are rubbed against each other creating a swishing sound. Sandpaper blocks are commonly used to imitate a soft-shoe dancer or the waves of ocean surf and can also be played on a sand board for these effects. Fr. papier de verre; Ger.
Sandblöcke; It. ceppi di carta vetro; Sp. papel de lija. sandpaper taped to floor. A preparation by Ligeti where a performer is asked to tape sandpaper to the floor. The floor then functions as a sand board against which sandpaper blocks are used. This preparation also works well for a soft-shoe dance imitation using the performer’s feet. Sandpapier Blöcke (Ger.). See sandpaper blocks. Sandrassel (Ger.). See sand rattle and sandbox. Sanduhrtrommel (Ger.). An hourglass-shaped drum. Sanford, Fred (Jun 22, 1947–Jan 23, 2000). Elected to the Percussive Arts Society’s Hall of Fame in 2000 in the categories of composition, education, industry, inventions, and rudimental, Fred Sanford is best known for his educational and compositional activities in rudimental, marching, and Drum Corps International. See PAS Hall of Fame. For a full biography, visit www.pas.org. sanitary imitations. A whistle with a cover for the mouthpiece or pipe; used to keep it free of dirt and germs when not in use. sans (Fr.). Without. sans cordes (Fr.). Without snares. sans sourdine (Fr.). Without mute. sans timbres, timbre (Fr.). Without snares. sans tintements (Fr.). Without jingles. sansa. Generic term for an African lamellaphone. See kalimba. sanza. See sansa. sapo Cubana (It.). A small bamboo scraper. Saragosa triangle. A modified triangle having a closed, semi-spherical vessel partially filled with oil welded to the triangle. The body of the triangle is
designed in a multitude of various shapes as well. Also known as a liquid triangle, it was invented by Bill Saragosa.
sarene (Fr.). See siren. sarna bell. A small bell from India. They are usually made of bronze, have decorative engravings, and are sounded by an internal clapper. saron. A diatonic metallophone used in the Javanese gamelan orchestra. From lowest to highest in range the three common sizes are known as the saron demung, saron baruyng, and saron panerus or saron peking. sarténes (Sp.). Inverted metal frying pans struck on the bottom that produce sustained, gong-like tones. Used in Latin American folk music. sassi (It.). See stones and rocks. saucer bell. Pitched, semi-spherical metal bells that are mounted and played by mallets. Chromatic sets are possible and, when mounted, are known as saucer staff bells. Deagan manufactured these during the early 20th century with each having a single resonator, as well as electronic activation by a keyboard. saw blade bells. A series of carpenter disc saw blades mounted horizontally on pegs. They produce high-pitched, microtonal sounds with long sustain, when struck with metal or hard plastic mallets.
saw blade gongs. Large metal saw blades from a lumber mill are mounted horizontally on pegs. They produce low, sustained tones when struck with a heavy soft mallet or a metal mallet. saw mill. See planing mill and traps. sbàttere (It.). To beat or to shake. scacciapensièri (It.). See jew’s harp. scaffolding. Short metal rods used in the building of a construction scaffold tower. scampanellio da gregge (It.). See cowbell. scarf joint. A wood joint whereby two ends of wood are cut at opposing angles and connected by glue or clamp. This creates an overlap of the wood. The joint can be a single plane, or have a plane with a bump, called a nib, or groove to better hold the angled pieces in place. It is commonly used to join two ends of a plywood sheet when bent to make a drum shell. See feathered joint. Schallbecken (Ger.). See cymbals. Schallenglöckchen (Ger.). Small bowl-shaped bells rung during Buddhist temple ceremonies. Schallstücke (Ger.). See bells. scharf abreissen (Ger.). To abruptly cut off or stop the sound. Schellbecken (Ger.). See cymbals. Schelle (Ger.). See pellet bells. It can also mean tambourine in some music. Schellen (Ger.). See sleigh bells and pellet bells. Schellenbaum (Ger.). See Turkish crescent. Schellenbündel (Ger.). A bundled or mounted group of sleigh bells or pellet bells.
Schellengeläute (Ger.). See sleigh bells. Schellenrassel (Ger.). See jingles and jingle stick. Schellenreif (Ger.). A jingle-ring or a tambourine without a head. Schellenstock (Ger.). See jingle stick. Schellentrommel (Ger.). See tambourine. Schick, Steven (b. 1954). Elected to the Percussive Arts Society’s Hall of Fame in 2014 in the categories of author, education, recording artist, and total percussion, Steven Schick is best known for his virtuosic multiple-percussion performances and collaborations with major composers in contemporary music for solo and ensemble percussion. See PAS Hall of Fame. For a full biography, visit www.pas.org. Schiffsglocke (Ger.). See ship’s bell. Schirrholz (Ger.). See bull roarer. Schlag (Ger.). See drum stroke. Schlag mit dem Schlägelgriff (Ger.). Strike with the handle or grip of the stick. Schlag mit praller (Ger.). See closed roll. Schlagbecken (Ger.). See crash cymbals. Schlagbrett (Ger.). See wooden board. Schlägel (Ger.). See drum stick. Schlägelkopfe (Ger.). The head of a mallet. Schlägelsteil (Ger.). The handle of a mallet. schlagen (Ger.). To hit, strike, or beat. Schlagfell (Ger.). See batter head.
Schlaginstrument (Ger.). A percussion instrument. Schlaginstrumentengruppe (Ger.). See percussion section and battery. Schlagrassel (Ger.). See quijada and vibraslap. Schlagstäbe (Ger.). See percussion sticks and claves. Schlagwerk (Ger.). See percussion. Schlagzeug (Ger.). See percussion and drum set. Schlagzeuger (Ger.). A drummer or percussionist. Schlagzeugspieler (Ger.). A drummer or percussionist. Schlegel (Ger.). See drum stick, mallet, and beater. Schlegelinstrumente (Ger.). See keyboard percussion instruments. Schlittelrohr (Ger.). See metal tube shaker. Schlittenglocken (Ger.). See sleigh bells. Schlitten-Schellen (Ger.). See sleigh bells. Schlitztrommel (Ger.). See slit drum. Schmiedehammer (Ger.). A blacksmith’s hammer or heavy hammer. Schmirgelblock (Ger.). See sandpaper block. Schnarre (Ger.). See rattle. schnarren (Ger.). To rattle. Schnarrsaiten (Ger.). See snares. Schnarrtrommel (Ger.). See snare drum. schnell abdämpfen (Ger.). Muffle quickly or immediately.
Schnur-Reibtrommel (Ger.). A friction drum with cord or a string drum. school bell. A large, cast metal bell with an internal clapper. See church bell and bell plate. school house bell. See school bell. School of Vibracussion. See Vibracussion, School of. Schory, Dick (b. Dec 13, 1931). Elected to the Percussive Arts Society’s Hall of Fame in 2011 in the categories of education, band leader, composition, industry, radio/television, recording artist, sound engineer, and total percussion, Dick Schory is best known as a total percussionist who worked as educational director for Ludwig and composed and recorded music for over 300 albums, as well as for his Percussion Pops Orchestra. See PAS Hall of Fame. For a full biography, visit www.pas.org. Schotenrassel (Ger.). See pod rattle. Schraper (Ger.). See scraper and rasp. Schraubenpauke (Ger.). See hand-tuned timpani. Schraubenschlüssel (Ger.). Tuning handle or tension rod (T-rod, T-handle) for timpani. Schreibmaschine (Ger.). See typewriter. schütteln (Ger.). To shake. Schüttelrohr (Ger.). See shaker and chocalho. Schwamm (Ger.). Sponge or sponge-headed mallets. Schwammkloppel (Ger.). A large, heavy beater or mallet. Schwammschlägel (Ger.). A sponge-headed (soft) stick or mallet. Schweinschlägel (Ger.). Pig sticks, or a mallet covered with leather made from pig skin.
schwere Eisenklöppel (Ger.). With a heavy metal clapper or beater. Schwirrbogen (Ger.). A bow attached to a rotating stick with a handle. When spun or whirled, the string on the bow produces a whine that changes pitch based on the speed of the rotating bow. Schwirrholz (Ger.). See bull roarer. scie musicale (Fr.). See musical saw. scissors grip. See cross grip. scivolato (It.). See glissando. scopèrto (It.). Uncovered, not muffled, or snares on. This is often a direction to a player after a drum has been covered, muffled, or had the snare off. See muffled and copèrto. scopettine (It.). Wire brushes. scordate (It.). Out of tune. For drums, the head or heads should be loose or without a definite pitch. scordato (It.). Un-tuned or loose head. Scotch bass drum. A shallow, marching bass drum. It is struck with hard felt beaters in Scottish rudimental drumming and was common in the United States prior to the adoption of multiple, tuned marching bass drums. Scotch bass drum sticks. Felt bass drum mallets or beaters that have leather straps attached to the butt end of the handle. The strap allows the player to twirl the stick and to strike a head on the opposite side for visual effects. Scout drum. An inexpensive parade drum used for ceremonial marching by boys’ clubs, such as the Boy Scouts of America. scraper. A stick or hollow body made of gourd, wood, or metal, with grooves cut into the body. It is scraped with a small stick. See güiro and rasp. scratcher. See scraper.
screw rod. See tension rod. SCUBA tank. An empty metal tank originally used for breathing under water. It is suspended and struck with a mallet creating a sustained, ringing sound. scuòtere (It.). To shake. SD, sd, S.D., s.d. Abbreviation for snare drum. seamless. For shells and counterhoops (rims), this describes a construction process whereby a single piece of material is stamped, cast, cut, or machined to create an item with no connecting seam. Seamless parts are generally considered to have more strength or better acoustic properties. sec (Fr.). Dry or short duration. sec. (It.). Abbreviation for secco. secco (It.). Dry, not resonant, or quick. seche (Fr.). Short. secondary instrument. (1) In a multiple-percussion setup, including the drum set, this is an additional instrument that already has one of that type in the setup and whose purpose is to provide a different timbre or placement for ease of access. Common secondary instruments are snare drums on the opposite side of a hi-hat, or another hi-hat (often a remote hi-hat), and various trigger pads. In concert percussion setups, the placement of secondary gongs or bass drums often facilitate ease of access. (2) An additional instrument studied by a percussionist, not his or her main instrument of choice or concentration. secouer (Fr.). To shake. seed pod rattle. A pea or bean pod that is dried with the seeds still inside. When shaken the seeds rattle. See pod rattle.
séga (It.). See musical saw. séga cantate (It.). See musical saw. segue (It.). Follow, or follow in the same manner. This most often means to continue directly to the next movement or page of music, but it can also mean to continue playing an instrument in the same manner as originally directed. sehr (Ger.). Very. sehr rein gestimmt (Ger.). The sound should be dampened quickly and completely. sehr schnell (Ger.). Very fast. sekere. See shekere. Selbstklinger (Ger.). Struck idiophone. self-aligning lug. A tension casing with a receiver insert that swivels when the tension rod is connected in order to allow proper alignment and prevent cross-threading the rod. self-instructor. A mail-order method book written in a manner that allows a student to learn to play an instrument without the aid of a music teacher. These were often sold on a subscription basis with 35 to 50 lessons, one lesson arriving each week. See mail-order lessons.
self-loading pop gun. See pop gun. semanterion. See sēmantron. sēmantron (Grk.). An oblong wooden board, suspended horizontally and struck with a wooden mallet or hammer. It is used in the rites of the Greek Orthodox Church. sèmpre (It.). Always or ever. sèmpre note reali (It.). Sounds as written. sennpo (Af.). African rattles made from two L or V-shaped branches with pieces of a gourd stacked on one arm of the branches. The large pieces of gourd are punctured with a hole in order to insert them on the arm. They are shaken up and down, one branch in each hand. Also known as wasamba rattle. sènza (It.). Without. sènza colore (It.). Without color to the timbre of a sound. This can be thought of as producing a sound with as narrow spectrum of overtones as possible. sènza corda (It.). Without snares. sènza misura (It.). Without measure, or unmeasured. There is no established tempo, pulse, or meter. sènza rigora di tempo (It.). Without a steady tempo. sènza sordino (It.). Uncovered or not muffled. separate tension. A tuning system with tension rods that adjust separately for the top (batter) and bottom (snare or resonant) heads. See tuning systems. sequential roll. A three- or four-mallet keyboard percussion instrument technique that produces a sustained sound by striking each of the three or four mallets individually in a repetitive order of the mallets, once an order is established. This is in contrast to a block roll.
serrucho (Sp.). See musical saw. setup pieces. See multiple percussion. seule (Fr.). Alone or solo. seven-stroke roll. A standard rudiment consisting of three double strokes followed by a single stroke: llrrllR, rrllrrL. See rudiments and appendix N, “PAS 40 International Drum Rudiments.” seven-tone xylophone. See ratio xylophone. sguilla (It.). See cowbell. shaft of stick. See snare drum sticks. shake roll. A method of sustaining sound on a tambourine by rapidly shaking the instrument with a wrist rotation in order to make the jingles rattle. shaker. A hollow vessel, filled with pellets or seeds, that is shaken back and forth. See maracas and chocalho. shaker stick. A long stick with various types of jingles, bells, or rattles attached to it. Possible types include bottle caps, small or large bells with clappers, sleigh bells, and pellet bells. shaman drum. A single-headed frame drum, used in ritual acts and ceremonies by shamans or religious leaders in Asian, Indian, and Native American tribes. Shanghai rooster crow. See rooster crow. shank of stick. See snare drum sticks. shanka (Hin.). A conch shell trumpet. Sharf abreissen (Ger.). See scharf abreissen. Shastock “flexo-metl” drum head. A drum head manufactured by Duplex in the 1930s. It was produced from fabrics that were incorporated with chemicals and metallic substances to produce a synthetic material of unusual
strength and durability and had waterproof and weather-proof characteristics. Shaughnessy, Ed (Jan 29, 1929–May 24, 2013). Elected to the Percussive Arts Society’s Hall of Fame in 2004 in the categories of band leader, drum set, radio/television, and recording artist, Ed Shaughnessy is best known for his tenure as the drummer for The Tonight Show with Johnny Carson. See PAS Hall of Fame. For a full biography, visit www.pas.org. sheep bell, sheepbells. Tuned metal bells with a rectangular body and mouth. Originally used on animals with an internal clapper, they can be mounted and struck with a mallet, or played as individual hand bells with a leather strap handle. Chromatic sets are possible. See animal bells and traps. shekere (Af.-Nig.). A large calabash gourd covered with a netting of beads, dried seeds, or shells. Originally from Nigeria, the instrument is shaken to make the beads strike against the gourd. Modern instruments are constructed from plastic or fiberglass bodies and beads.
shell. The body of a drum. Manufactured of wood, metal, or synthetic materials, the shell is the main supporting structure of any drum and can be made in a variety of shapes, sizes, and methods of manufacture. Ethnic drums are often cut from a single piece of wood in common shapes such as a cylinder, hourglass, barrel, cone, bowl, or goblet. Modern Western drum shells are constructed from either a solid piece of wood or wood plies that are steam bent into a cylinder. The connecting seams for each ply of a shell can be joined in a variety of manners, but a feathered joint and the butt joint are the most common. When glued, there is often an intentional space, called a shell void, for internal plies at a seam. Wood shell drums are often constructed with interior reinforcement rings. In addition, wood shells can be made with a series of staves that are glued together before cutting to shape. This is common on bongos and congas. Metal shells are usually rolled and welded with a vertical seam and can be made from two or more parts that are connected at a protruding reinforcement bead. Synthetic shells are most commonly made by a molded injection system. The edge of a shell, known as the bearing edge, can be rounded over or have a quite sharp, angled cut. As the drum head contacts the drum at the point of the bearing edge, the design of the edge greatly affects the overall tone of a drum.
shell chimes. See wind chimes. shell void. A space between the ends of a plywood joint when they are glued together.
Shellentrommel (Ger.). See tambourine. sheng. Five silver-bronze discs that measure from 9 to 13 inches in diameter manufactured by UFIP. The discs are suspended vertically by two holes and produce a bell-like sound when struck. shime daiko, shime-daiko, shimedaiko. A small, rope-tuned barrel drum used in Japanese theater music. Its two heads extend well beyond the edge of the shell with the rope lacings running between the two heads. Additional rope circles the lacings to facilitate tuning. The drum is played by two wooden sticks, usually while seated with the drum on a stand.
ship’s bell. A cast bronze bell with an internal clapper, used on navy ships or as an alarm bell or storm warning. ship’s whistle. See boat whistle and traps. shōko. A small, bronze gong used in Japanese gagaku court music. It is suspended in a decorative stand and struck with two hard beaters. shot cushion. A padded leather cushion struck with a flat paddle or stick to create a popping sound to imitate a gun or pistol shot. See pistol shot and traps. shot imitation. See pistol shot. shot machine. A mechanical machine that imitates the sound of a gun or pistol shot. See traps. shot pad. See shot cushion. shot rattles. A metal rattle or shaker that uses lead gun shot or BBs as the internal pellets.
shoulder of stick. See snare drum sticks. shoulder strap. See carry sling. shouting. A vocal technique sometimes used in traditional Japanese and African-inspired percussion ensemble literature. show beaters, show sticks. Sticks or beaters painted with all white or black handles and having white heads, tips, or knobs to be highly visible during an on-stage performance. shränken (Ger.). To tension or to tighten. side drum. British term for snare drum. side pedal. A bass drum pedal for a drum set with the foot-board mounted parallel to the head of the drum—that is, sideways when compared to the normal configuration. sifflement (Fr.). Whistling or hissing. sifflet (Fr.). See whistle. sifflet à coulisse (Fr.). See slide whistle. sifflet à roulette (Fr.). See pea whistle and police whistle. sifflet coucou (Fr.). See cuckoo bird call. sifflet d’oiseau (Fr.). See bird whistle. sifflet imité du rossignol (Fr.). See nightingale bird call. sifflet signal (Fr.). See signal whistle. sifflet sirène (Fr.). See siren whistle. signal horn. An air-operated horn used to signal warnings, alarms, or time of day. signal whistle. Whistles used to signal warnings or alarms. See police whistle,
fog horn, alarm whistle, and siren. Signalpfeife (Ger.). See signal whistle. silbato (Sp.). See whistle. silbato del ave (Sp.). See bird whistle. silbato sirena (Sp.). See siren whistle. silofono (It.). See xylophone. silofono a tastiera (It.). See keyed xylophone. silofono basso (It.). See bass xylophone. silomarimba (It.). See xylomarimba and xylorimba. silophono (It.). See xylophone. simandron (It.). See sēmantron. simantra (It.). See sēmantron. simmer sehr dicht (Ger.). Always very dense. Simmons Company. Founded in Britain in 1978 by Dave Simmons, the Simmons Company is a pioneering electronic drum manufacturing company. Though the company closed in 1999, the name is currently owned by Guitar Center. The company produced not only electronic drum sets (drum kits) and single drums, but also the Simmons Silicon Mallet, a keyboard percussion instrument. See electronic percussion. sin cuerdas (Sp.). Without snares. sineta (Por.). A small bell used in South American music. singende Säge (Ger.). See musical saw. singing bowl. A brass bowl that, when rubbed around the circumference with a leather mallet, produces a pitched, sustained tone. See dharma bells.
single drag tap. A standard drum rudiment composed of a bounced doublestroke ornament preceding two primary notes, the second of which is accented. See rudiments and appendix N, “PAS 40 International Drum Rudiments.” single paradiddle. A standard drum rudiment composed of two alternating single strokes followed by a double stroke (LRLL, RLRR). See appendix N, “PAS 40 International Drum Rudiments.” single tension. A two-headed drum that adjusts the tension of both heads via a single connecting tension rod. single-flange counterhoop. A counterhoop that has one bend, creating two sides with an adjoining right angle. It can be bent inward or outward from the flesh hoop depending on the manner of tuning system desired. single-headed drum. A drum having only one head, the top or batter. If it is a snare drum, the snares are usually mounted inside the shell, underneath the batter head, but can be strung across the top of that head.
single-headed tom. A drum having only one head, and no snares. single-stroke roll. A method of playing a sustained tone on a percussion instrument by rapidly alternating one stroke from each stick. It is one of the standard drum rudiments. See appendix N, “PAS 40 International Drum Rudiments.” sinistra (It.). Left. sino. A bell used in South American music. siren. A sound effect instrument that creates a piercing tone by forcing air over a perforated disc. The disc can rotate by a hand crank, electric motor, or breath blown through a whistle. As the speed of the air changes, the instrument fluctuates in pitch, rising and falling in a glissando. Fr. sirène; Ger. Sirene; It. sirena; Sp. sirena.
siren aigue (Fr.). High-pitched siren. siren grave (Fr.). Low-pitched siren. siren whistle. A small metal whistle, blown to produce the glissando sound of a siren. siren whistle with bell. See Acme siren whistle. sirena (It., Sp.). See siren.
sirena a fiato (It.). See siren whistle. sirena bassa (It.). See fog horn. sirena da battelo (It:). See boat whistle and fog horn. Sirene (Ger.). See siren. sirène à bouche (Fr.). See siren whistle. sirène aigue (Fr.). A high-pitched siren or police siren. sirène grave (Fr.). A low-pitched siren. Sirenenpfeife (Ger.). See siren whistle. sistra (It., Sp.). See sistrum. sistre (Fr.). See sistrum. sistro. (1) A set of small, bronze, cup-shaped bells mounted on a frame with a handle. They are a predecessor of the keyed glockenspiel. A glockenspiel (orchestra bells) or crotales may be used as a substitute. (2) See sistrum. sistrum. A rattle composed of a frame with a handle with small metal rods or wires spanning the opening. Metal discs or jingles slide along the rods from side to side when shaken, striking the frame. Fr. sistre; Ger. Sistre; It. sistro.
Siwe, Thomas (b. Feb 14, 1935). Elected to the Percussive Arts Society’s Hall
of Fame in 2011 in the categories of author, education, and publisher, Tom Siwe is best known for his career as professor of percussion at the University of Illinois. See PAS Hall of Fame. For a full biography, visit www.pas.org. sixxen. Developed by Xenakis for his percussion ensemble Pleiades, this instrument consists of 19 keys of square aluminum tubes each tuned between a semi-tone and a whole tone apart. The work requires six sets, each set being micro-tonally out of tune with the others. sizzle cymbal. A suspended cymbal with metal rivets inserted to create a buzz or sizzle sound when struck. A normal suspended cymbal can also be prepared as a sizzle cymbal by hanging a small chain or keys on it, or by attaching a commercial sizzle mechanism.
skin head. A drum head made of animal skin. Though usually hairless, they sometimes still have hair attached. skins. American slang term for drum heads (usually calf heads) or a drum set. slagwerk (Dut.). See percussion.
slap. See slap tone. slap pad, shot imitation or horse galloping. See shot cushion. slap stick. See slapstick. slap tone. A performance technique in hand drumming whereby the tips of the fingers are whipped into the head creating a sharp pop or slapping sound. It is one of the main sounds used on congas and bongos. slapstick. Two wooden slats or boards, hinged together at the base. When struck together they create a sharp crack sound. Used to imitate a whip.
sled gongs. A large, circular, metal snow sled. When suspended and struck, they produce a rising-pitch glissando. sleigh bells. Small metal pellet bells, either affixed to a strap as used on sled horses, or attached to a handle as used in concert music. Tuned, chromatic sets are possible. Fr. grelots; Ger. Schellen; It. sonagli; Sp. sonajas. slendro (Jav.). A pentatonic scale used in Javanese gamelan orchestras. slide. See glissando. slide whistle, slidewhistle. A metal, plastic, or wooden cylindrical tube with a movable plunger inside. The whistle is blown on one end as the plunger is slid the length of the tube to create a glissando effect. Also known as a Frisco song whistle. See traps. Fr. sifflet à coulisse; Ger. Lotosflöte; It. flauto
a culisse.
sling. See carry sling. Slingerland Drum Company. Founded in 1912 by H. H. Slingerland first as a company to manufacture banjos, Slingerland soon expanded into making drums as competition to the Ludwig & Ludwig firm. The company became one of the largest U.S. drum and percussion manufacturing companies. Its most famous model, the Radio King, was a favorite of such famous performers as Gene Krupa, who was a prominent endorser. The Slingerland brand was acquired by numerous companies beginning in 1970 until it was acquired in 1994 by its present owner, Gibson. slit drum. A hollow wooden box or tree trunk with tongues or slits cut into the shell. The tongues or sides of each slit produce different pitches based on the length and thickness of each, and are struck by hands or mallets. See log drum.
slotted head screw. (1) Slang for a tension rod with a straight slot in the end. A special drum key or flat-blade screwdriver is necessary to turn it. See drum key. (2) A machine or wood screw with a single slot on the top.
slung mugs. A set of ceramic mugs or coffee cups suspended from a frame and struck with mallets. slunk calf head. A thin, tanned drum head made from an unborn (aborted) calf. They are available in both transparent and white. small drum. British term for snare drum. smorzare (It.). To dampen. snail shell rattles. See arbu. snake dance rattle. A Chinese version of a monkey drum, with the two cords tied in knots on the ends. Also known as a t’ao ku. snake rattle. Two long, metal tongues, each having a pod on the end filled with metal rivets. When shaken, it emulates the sound of a rattlesnake. Snappy Snares, Snappy-Snares, Snappi Snares. See James Snares. snare bed. The curved indentation on the bottom bearing edge of a snare drum shell that allows the snares to lie in better contact with the bottom head as they curve over the edge. This is most effective when using snares made of gut.
snare cord. A woven cord used to attach the snares to both the snare strainer and butt plate. See snares. snare drum. A double-headed drum used for concert and drum set music. It is struck on the top head (batter head) using snare drum sticks, which cause the vibration of the bottom head (snare head) and the snares that rest against it. The parts of the drum consist of the shell, the batter head, the snare head, two counterhoops, a tension system of lugs and tension rods or by rope, and a method of attaching and adjusting the snares via a strainer and butt plate. See rope drum. Fr. caisse claire; Ger. kleine Trommel; It.
tamburo piccolo; Sp. caja clara.
snare drum cymbal. A small, semi-spherical metal bell that clamps to the counterhoop of a snare drum and is struck with a stick. snare drum head. See drum head. snare drum head holder. A double-hooped frame with threaded rods used to store calf skin drum heads that are already mounted to a flesh hoop. The heads are stacked on top of each other between the hoops of the frame and put under pressure in order to prevent the flesh hoops from warping. snare drum stand. A mechanical device designed to hold a snare drum at the proper height and position for performance by a player. Prior to the invention of the snare drum stand, drums were set in an angled position on a chair when not used as a marching instrument.
snare drum sticks. Sticks used to play a snare drum. The parts of a stick include the tip, also known as the bead, acorn, head, or knob; the neck; the shoulder or taper; the shaft or shank; and the butt or butt end. Snare drum
sticks, or any portion of the stick, such as the tip, can be made from any hard wood (maple being the most common), from metal, or from any hard synthetic material, such as nylon, plastic, or carbon fibers. Though usually made from a solid piece of wood, some manufacturers laminate their sticks for strength.
snare grip. (1) How one holds a snare drum stick. See matched grip and traditional grip. (2) Slang for strainer. snare head. The bottom head of a snare drum, against which the snares lie. snare hook. See claw.
snare hook and nut. See J-hook strainer, rope drum, and claw. snare muffler. See tone control. snare plate screw and hook. See butt plate, J-hook strainer, and rope drum. snare release lever. The lever on a strainer that engages or disengages the snares on a snare drum. See strainer. snare strainer. A device affixed to the drum shell or counterhoop that tensions the snares. It may or may not have a method of turning the snares on and off (releasing the tension). See strainer. snare strainer and muffler. Early name for a snare strainer that allowed the snares to be released, or turned off. See muffled. snare strap. A flat plastic, cloth, or metal strip that connects the snares to both the strainer and the butt plate. It is doubled over to fit in a slit at each end of the snares. See snare drum. snare tension adjustment knob. Part of a snare strainer, it is a threaded screw with a knurled or flat knob at the end that adjusts the tension of the snares when turned. snares. Gut, woven fiber, wire, wire wound around silk, cable, or plastic cords that are strung across the bottom head of a snare drum. The snares vibrate in response to strokes on the batter head, which cause the primary sounding tone to rise an octave and give the drum its characteristic “rattle” sound. Early snares lacked a method for easily adjusting tension, but modern snare strainers allow each strand to be individually adjusted as well as to have multiple types of snares installed on a strainer simultaneously.
snipe imitation. See bird call and traps. snore imitation. A device that emulates the sound of a person snoring. See traps. snowshoe pedal. An early design for a hi-hat composed of two boards hinged at the end, each with a cymbal attached on the inside facing the other. See hihat.
soap dish. A metal or plastic soap dish having straight edges. When the edges
are pressed against and rubbed on a tam-tam, it easily produces harmonics and overtones. sock cymbals. Early term for a hi-hat. sòffice (It.). Soft. soffocare (It.). To choke or to muffle. soffocato (It.). Choked or muffled. sofort nach dem Schlag dämpfen (bis 75) (Ger.). Immediately dampen (up to 75). sogo (Af.-Ewe). A large, pegged barrel drum. It can sometimes take the role of the master drum in African drum ensembles. soli (It.). A solo part played by more than one player. solid wood. An item made from a single piece of wood, as opposed to layer or plies. For example, a solid shell as opposed to a plywood shell. solo. A part or performance played by a single player. It can be accompanied or unaccompanied. son reel (Fr.). Sounds as written. sonagli (It.). See sleigh bells and pellet bells. sonagli a mano (It.). See hand bells. sonaglieri (It.). See sleigh bells. sonaglio (It.). A small bell or pellet bell. sonaja (Sp.). Central and South American gourd rattle. sonajas (Sp.). Spanish and South American term for sleigh bells or rattle. sonajero (Sp.). A Mexican rattle.
sonajeros (Sp.). A generic term for bells or a shaker. sonajeros de calabazas (Sp.). A shaker made of gourds. sonarjeros de pezanas (Sp.). A string of deer hooves, common in music of South and Central America. sonaro (Sp.). Sonorous, let it ring without damping. sonatóre (It.). A player or musician. soneria di campane (It.). See chimes. song bells. A keyboard percussion instrument manufactured by the Deagan Company. The steel bars have resonators mounted underneath to enhance their projection. Having tonal characteristics that matched the glockenspiel, steel marimba, and celeste, they were manufactured from 1918 to 1924, and marketed as a solo instrument. song bird call. See bird call. song whistle. See slide whistle. sonnaille (Fr.). See cowbell. sonnailles de troupeau (Fr.). See herd bells and cowbells. sonne 2 8ves au dessus (Fr.). Sounds two octaves higher. sonne à l’8va aigue (Fr.). Sounds one octave higher. sonnette (Fr.). See hand bell and pellet bell. sonnette de table (Fr.). See dinner bell. Sonor. German manufacturing company established in 1875 by Johannes Link. Though the company was taken over by the East German government following the Second World War, Otto and Horst Link, the son and grandson of the founder, established the present company in West Germany in 1946. sons réels (Fr.). Sounds as written.
sons voilé (Fr.). Muted or muffled. Soph, Ed. Elected to the Percussive Arts Society’s Hall of Fame in 2016 in the categories of author, band leader, drum set, education, and recording artist, Ed Soph is best known as a drummer for Woody Herman and Clark Terry and for his educational activities, which include his position at the University of North Texas. See PAS Hall of Fame. For a full biography, visit www.pas.org. soprano, sopranino snare drum. See piccolo snare drum. soprano metallophone. Keyboard percussion instrument with metal bars. It has a diatonic or chromatic range, is mounted in a single row over a sounding box, and transposes an octave higher than written. soprano xylophone. Keyboard percussion instrument with metal bars. It has a diatonic or chromatic range, is mounted in a single row over a sounding box, and transposes an octave higher than written. sordina (It., Sp.). See mute and muffler. sordino (It.). See mute and muffler. sordino interno (It.). An internal muffler. See tone control. sospendere (It.). Suspended. sospenso (It.). Suspended. sospesi (It.). Suspended. sospéso (It.). Suspended. sound discs. Small, indefinite-pitched, bronze discs that produce a bright, belllike sound when struck. They come in five sizes measuring from four and one-half to five and three-quarters inches. sound effect instruments. Instruments played to imitate the sounds of animals, objects, or everyday sounds. Primarily developed to accompany stage and silent film performances, they include such things as an automobile horn,
boat whistle, wind machine, thunder, gunshot nightingale call, slapstick, and lion’s roar. See traps. sound effects. See traps. sound module. An electronic musical component that produces a wide variety of interactive musical sounds, usually through the Musical Instrument Digital Interface (MIDI). Some modules contain only drum and percussion sounds and are known as a drum module. Others contain extensive sound libraries and samples of virtually all percussion instruments. sound plates. Indefinite-pitched bronze plates. See bell plates. sourd (Fr.). Muted or muffled. sourdine (Fr.). See mute and muffler. sourdine interne (Fr.). See internal muffler and tone control. Sousa, John Philip (Nov 6, 1854–Mar 6, 1932). Famous as an American composer, violinist, and conductor, Sousa was also a trained drummer and author of A Manual for Trumpet and Drum, also titled A Book of Instruction for the Field-Trumpet and Drum. The book, first published in 1886, contains camp duties, signals, solos, and drum rudiments. South American marimba. See nabimba. spacedrum, space drum. See hang. spang-a-lang. Slang, onomatopoetic phrase for the standard swing pattern on a ride cymbal; a repeated dotted-eighth-, sixteenth-, quarter-note rhythm, with an accent on the dotted-eighth note. Spanischerohr (Ger.). Flexible rattan. Spanish cencerros (Sp.). Tube-shaped cowbells. Spannreifen, Spann Reifen (Ger.). See counterhoop. special effects. See traps.
spègnere (It.). To dampen or mute. speróni (It.). See spurs. Spieler (Ger.). Player. Spielsäge (Ger.). See musical saw. spigliato (It.). Relaxed. spike lute. See ektar. spinner carrier. A mechanical harness for a marching bass drum that allows the drum to be spun on a horizontal axis while playing. spinner eggs. An egg-shaped shaker that is sounded by spinning the top of the egg. spinning. A manufacturing process whereby metal is spun onto the outside of a mold while on a lathe. The metal is pressed into shape, rather than having any metal removed. Commonly used metals are spun brass for drum shells and spun copper for timpani bowls, both of which result in shells that are seamless. spiral cymbal holder. See spring crash cymbal holder. spirali (It.). Wire snares. Spivack, Murray (Sep 6, 1903–May 8, 1994). Elected to the Percussive Arts Society’s Hall of Fame in 1991 in the categories of education, radio/television, and sound engineer, Murray Spivack is best remembered as a percussionist for NBC, CBS, and the Strand in New York City and for his groundbreaking work in audio engineering for the RKO and then 20th Century Fox studios in Hollywood beginning in 1929. See PAS Hall of Fame. For a full biography, visit www.pas.org. splash cymbal. A thin, suspended cymbal six to eight inches in diameter, with a rapid response and a fast decay. It was a standard feature of early drum sets and is still used for special effects and accents. Ragtime and early jazz recordings often end with the sound of a single splash cymbal.
split board. See split footboard. split footboard. A two-piece design for the board on a bass drum pedal that allows the heel portion of the pedal to remain flat. See bass drum pedal. sponge. Soft material, such as sponge or a loosely woven felt, used to cover the head of mallets. It is a generic term for a soft mallet in some languages. sponge beaters. Early designation for soft mallets. The realization for this designation is now done with soft felt mallets on timpani and bass drum, and with yarn, cord, or wound mallets on other drums, keyboard percussion instruments, and suspended cymbals. spoons. Wood or metal clappers in the shape of concave spoons. They are held between the fingers, convex sides facing each other, and are struck together or against parts of the body or hand. Actual spoons are often used and are sometimes mounted in a handle with proper spacing. Sporen (Ger.). See spurs. spring coil. A heavy, steel spring from an automobile suspension system. It is usually suspended and struck with a hard mallet. See coil spring.
spring coil with jingles. A spring coil prepared with additional metal jingles and suspended. Used by Jacob Druckman in Incenters.
spring crash cymbal holder. A cymbal tilter that uses a spring between the cymbal washer and the supporting rod. The spring allows the cymbal to move when struck. spring güiro. Three springs with adjustable tension mounted on a hollow metal tube with an oval opening. The springs are scraped and the opening is covered and uncovered to change the tone of the instrument. See güiro and réco-réco. spring reco-reco. See réco-réco. sproni (It.). See spurs. spugna (It.). See sponge. spun brass. See spinning. spun copper. See spinning. spurs. (1) A sound effect instrument consisting of metal discs stacked on a metal rod and set in a handle. The instrument is shaken or struck to imitate the jingle of spurs on cowboy boots. See traps. (2) See bass drum spur. square rattan shaker. See nsenge. square-tension rod heads. A tension rod with a square top. This is the standard shape to accommodate a modern drum key. squawker, squaker. A metal buzz rattle operated by pressing a metal button into the body of the instrument. It creates loud rasping and squawking sounds that imitate many animals. Also known as a rooter. See traps. squeak. A sound effect produced by rubbing on an inflated balloon, or using a common child’s or pet’s toy, such as a rubber mouse. squeeze drum. See talking drum. Stabglockenspiel (Ger.). See glockenspiel. Stabpandereta (Ger.). See jingle stick.
staccato stroke. A stroke produced by tightening the fingers on the grip of the stick or mallet and striking the instrument in a quick manner but pressing fully into the head or playing surface. staff bells. Manufactured in the early 20th century by Deagan, these are chromatic metal bells shaped as either a semi-spherical cup or Swiss hand bells. They are mounted on a rack having two cross bars, one for the naturals and one for the accidentals in a piano keyboard configuration and played with mallets. Each bell was available with an optional resonator for better projection and a five-octave range was possible. They are used by Percy Grainger in several of his works, including The Warriors and Lincolnshire Posy. staggered plies. A construction process for drum shells whereby each ply of a wooden shell has the seam offset from the other plies in order to strengthen the plywood. See shell. Stahl (Ger.). Steel. Stahlnadeln (Ger.). Triangle beater or metal beater. Stahlspiel (Ger.). See glockenspiel and orchestra bells. Stahlstäbe (Ger.). (1) See metal plate and bell plate. (2) See glockenspiel and orchestra bells. Stahltrommel (Ger.). See steel drum. Stahstabe von tiefem, unbestimmtem klang (Ger.). Steel pipes of deep, indeterminate pitch, such as tubular chimes or church bells. stainless steel mixing bowls. Steel bowls of assorted sizes. These can be inverted and struck on the bottom resulting in a glissando boing effect, or upright on the edge resulting in a long, sustained tone. Stampfrohr (Ger.). See stamping tube. Stampftrommel (Ger.). See stamping tube. stamping rattles. Ankle bells or jingles. Substitute instruments for concert
performance are headless tambourines or seed pod rattles. stamping tube. (1) A wood or bamboo tube struck on the ground. They can be struck on the very end, vertically, or at an angle. (2) Toy plastic tubes sold in paired, pitched sets. These are struck on the floor like drum sticks when the player is seated, often by children as an educational instrument. stand. A mechanical device that holds instruments, mallets, music, or other objects at a convenient height for the performer. Common stands are for individual drums, cymbals, sheet music, and traps. See cymbal stand and snare drum stand. stand mounted tom. A tom on a drum set that is mounted on its own stand rather than to a rack or bass drum shell mount. stappare la bottiglia (It.). See pop gun. stark, starke (Ger.). Strong, meaning loud or forte. Starr, Ringo (Richard Starkey, MBE) (b. Jul 7, 1940). Elected to the Percussive Arts Society’s Hall of Fame in 2002 in the categories of band leader, composition, drum set, radio/television, and recording artist, Ringo Starr is best known for his work as a member of The Beatles, a British rock group. See PAS Hall of Fame. For a full biography, visit www.pas.org. starter’s pistol. A hand-held revolver that fires blanks, it is used to imitate the sound of a pistol shot. steam exhaust whistle. A small metal whistle that imitates the sound of escaping steam. See traps. steamboat, steamboat whistle. A low-pitched whistle, made of wood or metal, used to imitate the horn of a steamboat. It is the same instrument as a threetoned locomotive whistle. See traps. steamship whistle. See steamboat. steel band. An ensemble of steel drums. It is usually composed of lead, tenor, and several bass pans.
steel bells. See glockenspiel. steel cone washer. A cone-shaped washer used in the assembly of tension rods for timpani. When pressure is applied, the washer maintains its integrity due to the concave fitting on the counterhoop into which it is mounted. The high pressure normally cracks flat washers. steel discs. See steel plates. steel drum. A tuned percussion instrument made from empty 55-gallon steel oil drums. The end of the drum is hammered to a concave shape, and each tone is hammered to a convex protrusion producing a tuned, definite pitch. The pitch is determined by the size of the convex protrusion area and the depth of the drum body. Based on their range, steel drums are categorized as a lead pan, tenor pan, or bass pan and formed into steel bands. Developed in Trinidad, the steel drum is also called a steel pan. Fr. tambour d’acier; Ger. Stahltrommel, Calypsotrommel; It. tamburo d’acciaio.
steel marimba. A steel-bar keyboard percussion instrument manufactured by the Deagan Company. It was a predecessor of the vibraphone. steel pan. See steel drum. steel plates. Thick discs or slabs of steel that are suspended by cords or on padded supports and struck with metal beaters. The size of the plate determines the pitch. See bell plate. steeple bell. See church bell. Stein (Ger.). Stone. See stones. Steinplatten (Ger.). See lithophone.
Steinspiel (Ger.). See lithophone. Stempelflöte (Ger.). See slide whistle. Stevens, Leigh Howard (b. Mar 9, 1953). Elected to the Percussive Arts Society’s Hall of Fame in 2006 in the categories of author, education, industry, keyboard percussion, and publisher, Leigh Howard Stevens is best known for elevating the technical expectations of four-mallet independence on marimba by virtue of commissions and recitals of new music for marimba and for his innovative designs of keyboard percussion instruments. See PAS Hall of Fame. For a full biography, visit www.pas.org. Stevens grip. Named for marimba virtuoso Leigh Howard Stevens, this is a method of holding four mallets to facilitate playing multiple notes, independent rolls, and rapid, independent strokes on keyboard percussion instruments, primarily the marimba. The grip is known for the fact that the mallet handles do not cross or touch each other in a hand and is derived from the Musser grip.
sticcada (It.). See xylophone. sticcato (It.). See xylophone. stick. A truncation of the general term drum stick. stick bag. A cloth or leather bag with elongated pockets designed for the storage and organization of sticks, mallets, and beaters. It usually has a method for closing the entire bag with a zipper or a flap with snaps or cloth tie and a shoulder strap for carrying. stick clicks. Rhythmic beat made by striking one stick against the other or, erroneously, one stick on the rim. Often used to mark time and for visual effects. stick ektara, stick ektar. See ektar. stick height. A measurement of how far the tip of a stick rises from an
instrument during a stroke. Stick height affects both the volume and consistent ensemble sound or appearance of strokes. stick holder. A device attached to an instrument or stand that holds sticks at a convenient location for retrieval by a performer. stick on stick. See stick shot. stick shot. A technique whereby one snare drum stick is placed with the tip in the center of the drum head and then struck with the shoulder of the other stick. This produces a sharply accented sound similar to a rim shot. stick tray. A flat, padded surface, usually mounted on a stand where sticks, mallets, and beaters are placed for retrieval by a performer. sticking, stickings. The pattern of left and right hand drum strokes used to play a series of notes. sticking systems. Established methods of stickings or sticking patterns. These include right hand lead, left hand lead, and alternating systems. sticks. See snare drum sticks. sticks for bass drum. See bass drum mallets. sticks for snare drum. See snare drum sticks. sticks for tympani. See timpani mallets. Stiel, Stiele (Ger.). Handle or shaft. Stielende (Ger). The handle end, or butt, of a mallet. sting cymbal. A nickel or chrome-plated splash cymbal that produces a brighter sound than a standard brass splash cymbal. Stock (Ger.). See drum stick. Stock auf Stock (Ger.). See stick on stick and stick shot. Stone, George Lawrence (Nov 1, 1886–Nov 19, 1967). Elected to the
Percussive Arts Society’s Hall of Fame in 1997 in the categories of author, education, industry, orchestra, publisher, and theater, George L. Stone is best known for his educational activities, which include extensive articles in major music periodicals and his book Stick Control. See PAS Hall of Fame. For a full biography, visit www.pas.org. stone chimes. See lithophone. stone discs. Tuned, round discs of resonant stone struck by hard mallets or beaters. Their pitch is determined by the size and thickness. See lithophone. Stone practice pad. Designed by George L. Stone, this is a padded natural head tacked to a solid, wood base. stones. See lithophone and prayer stones. stool. A seat used for sitting or leaning upon while playing drum set, timpani, or other percussion instruments. Also known as a drummer’s throne, these are padded, sometimes have a back, and are height adjustable. They commonly have three legs in order to provide stability on uneven surfaces. storage shelves or cabinets. Furniture that is specifically designed with shapes and compartments to fit common percussion instruments and hardware in a highly organized fashion for the purpose of storage and protection. It is often built into a storage room at a rehearsal or performance facility allowing ease of access, but may be a wheeled cabinet with drawers and shelves.
storm bell. A cast bronze bell with an internal clapper. On a ship, it is used to signal alarms or storm warnings as well as sound the time. Stout, Gordon (b. Oct 5, 1952). Elected to the Percussive Arts Society’s Hall of Fame in 2012 in the categories of composition, education, and keyboard percussion, Gordon Stout is best known for his extensive number of compositions and recitals for marimba. See PAS Hall of Fame. For a full biography, visit www.pas.org. Straight system. A sticking system established by Edward B. Straight. It generally follows the right hand lead system. Also known as the “natural way” of drumming. strainer. A device, affixed to the drum shell or counter-hoop, that tensions the snares. It may or may not have a method of turning the snares on and off (releasing the tension). The strainer has an extended history of evolution beginning with just a knotting of the snare or snares between the
counterhoop and head. Its gradual developments include the use of a threaded J-hook, the use of a threaded knob to adjust the tension, the addition of a lever to engage or disengage the snares, adjustable tension for each strand of the snares, and various configurations of the butt plate, which holds the snares on the opposite side of the drum from the strainer. The snares can be attached to the strainer with a metal, cord, strap, or screwed clamp device or system.
strap. See carry sling. strap bells. A row of pellet bells strung on a strap. straps for cymbals. See cymbal strap. straw fiddle. See xylophone. Street, William (Mar 30, 1895–Aug 2, 1973). Elected to the Percussive Arts Society’s Hall of Fame in 1976 in the categories of author, education, orchestral, radio/television, and timpani, William Street is best known for his position as a timpanist with the Rochester Philharmonic Orchestra and as a professor of percussion at the East-man School of Music. See PAS Hall of Fame. For a full biography, visit www.pas.org.
street beat. See cadence. street car gong. See fire gong, bell plate, and traps. street car whistle. A two-tone whistle used by street car conductors. street drum. See parade drum. Stricknadel (Ger.). Knitting needle. striker. See cymbal striker. string drum. A single-headed friction drum with a cord or rope knotted underneath the head. It extends from the top of the drum and, when rubbed by a rosined cloth, the head vibrates. See lion’s roar and traps. strìsciato (It.). To rub or to brush. Strohfiedel (Ger.). See straw fiddle and xylophone. stroke. The motion of any combination of the fingers, hand, or arm when producing a sound with a stick, mallet, or beater and the number of sounds produced by that motion. stroke-and-a-bounce. A motion by the stick that produces a single note followed by a bounced note, resulting in two sounds. See double stroke. strokes. See single stroke, double stroke, multiple-bounce stroke, vertical stroke, and lateral stroke. strung clapper. See bin-sasara. Sturmglocke (Ger.). See storm bell. styles for drum set. See appendix K, “List of Drum Set Styles.” sùghero (It.). See cork. sul bòrdo (It.). At the edge or at the rim. sulla cassa (It.). On the drum shell.
sulla corde (It.). Snares on. sulla cùpola (It.). On the bell of a cymbal. sulla membrana (It.). On the drum head. sulla scena (It.). On stage. sun bell. An instrument composed of a round hoop to which is attached numerous conical bells fanning out from the hoop. suòni reali (It.). Sounds as written. suòno di bottiglia (It.). See tuned bottles. suòno di osso (It.). See bones. Super Ball, Superball. A soft but firm rubber ball. When pressed against a resonant instrument or drum head, it produces a wide variety of sounding overtones on the instrument. It can be mounted to the end of a stick or handle to make a Super Ball mallet. sur (Fr.). On. sur la caisse (Fr.). On the (drum) shell. sur la peau (Fr.). On the (drum) head. sur la protubérance (Fr.). On the (cymbal) bell. sur le bois (Fr.). On the wood. sur le bord (Fr.). At the edge. sur le cadre (Fr.). Play on the shell of the drum. sur le cercle (Fr.). On the (metal) rim. sur le rebord (Fr.). On the rim or edge. sur les timbres (Fr.). Snares on.
surdo (Por.). A large, metal tom tom, usually played with one beater and one hand. It is the bass voice in a Brazilian samba school percussion ensemble. Sure-Fire Repeater. A sound effect instrument that imitates gunshots. It holds 16 blanks mounted in two rows, each blank being sounded by striking it with a hammer or heavy stick. See traps. surf effect. A sound effect instrument used to imitate the sound of waves on a beach. A large frame drum is turned upside down and small pellets are placed on the head. As the drum is tilted and turned, the pellets slide across the head. It can also be a two-headed frame drum enclosed by either a flat or hemispherical top and handle, or an elaborately built device similar to a rain machine. See traps. suspended cymbal. A cymbal that is suspended from a fixed or gooseneck cymbal stand. It is used regularly in music for band and orchestra and with a drum set. For drum set, they are also known as ride cymbals and crash cymbals. See cymbal and cymbal stand. suspended head. A drum head with an extended collar. See drum head. suspendue (Fr.). Suspended. sustain pedal. A pedal that is depressed in order to let the keys, bars, or tubes of an instrument ring. Suwannee whistle, Swanee whistle, Swannee whistle. See slide whistle. Swanee piccolo. See slide whistle. Swan-neck cymbal arm. See gooseneck cymbal stand. swish cymbal. A special effect cymbal with an upturned edge similar to a Chinese cymbal. It can also have rivets installed for a sizzle effect. Swiss bells. Pitched, brass hand bells. See staff bells. Swiss drum. See Basel drum. Swiss drumming. See Basel drumming.
Swiss hand bell. See hand bells and staff bells. switch. See Rute. swordstick. A jingle stick in the shape of a sword blade with pairs of jingles mounted to both sides. symbol notation. A notational system used to identify percussion instruments with diagrams or pictographs representing each instrument, stick, beater, or mallet. Synares. Trademark name for an electronic, synthesized snare drum that was activated by striking pressure-sensitive, rubber trigger pads. It was developed by Star Instruments in 1975 and discontinued in the early 1980s. Syndrum. Invented in 1976 by Joe Pollard and Mark Barton, the Syndrum was the first commercially available electronic drum. Pollard established his company, Pollard Industries, and manufactured three main types of the drum, the Syndrum 1, Syndrum TwinDrum, and Syndrum Quad. After two years, Research Development Inc. purchased the company and manufactured the Syn-drum CM. synthesizer drum system. An electronic drum setup consisting of trigger pads, sound modules, a control board, and speaker system. Beginning in the 1970s, many companies began to experiment and develop drum systems based on electronically generated tones, eventually leading to the ability to sample acoustic sounds and digitally reproduce them both live and in the studio. See electronic percussion.
synthetic bar. A bar for a keyboard percussion instrument manufactured from plastic, resin, fiberglass, or other synthetic materials. See Kelon, Klyperon, Acoustalon, and Zelon.
T tab. See ear. taballi (It.). See timpani. tabella (It.). See slapstick or clappers. ṭabl (Arab.). Generic term for drum in Arabic. The ṭabl is commonly a doubleheaded cylindrical drum tuned by lacing two skin heads together across the entire shell from head to head. It is played with either two sticks or a stick and a switch. Also known as a davul. tablā (Hin.). A single-headed hand drum from northern and central India, it is the higher pitched of the pair of tablā drums. It has a wood bowl with a single skin head laced by leather straps that are tightened by hammering small wooden dowels between the strap and the shell. A circular patch of black paste is affixed to the center of the head. It is also known as the dahina. tablā drums. A pair of hand drums common to northern and central India. The higher-pitched drum, which sits on the player’s right, is known as the tablā or dahina, and the lower-pitched drum is the bāyā or duggi. Tabla Trommeln (Ger.). See tabla drums.
table de bois (Fr.). See wooden board. tablettes (Fr.). See bones. tabor. A small cylindrical drum from the medieval era, used to accompany a pipe whistle. It may have one or two heads and may also have a snare across one head, usually the top head. It hangs on the arm holding a pipe and is played by the free hand with a stick, when used as part of the pipe and tabor.
tacet jusqu-à (Fr.). Rest until. tack pattern. An arrangement of small nails on the shell of a rope drum that has two functions: (1) to assist with the lap of the solid wood shell; and (2) to display a design that identifies the maker of the drum.
tacked. A method of attaching a skin head to the shell of a drum. Commonly used on tambourines, Chinese toms, and medium- to large-sized Japanese taiko. tacked bottom head. A description of early 20th-century toms. As drum set players gradually moved from Chinese toms to tunable toms, there was a significant number of years when only the top head was tunable and the bottom head remained tacked to the shell. See tunable tom. taiko (Jap.). Generic term for double-headed, barrel-shaped Japanese drums. Taiko commonly have skin heads made from oxen or cow hides that are tacked to the shell. They sometimes have iron rings in the center of the shell for mounting or suspension and are typically painted or stained either red or black. Taiko drums are placed on a stand and struck with two large sticks,
often using elaborate visual motions incorporated into the strokes. tāl. Generic term for small cymbals of Southern Asia. taletta (It.). See bones. talking drum. (1) African drum with an hourglass shell and two heads connected by a single cord laced back and forth between each head. The drum is held under the arm and can be squeezed to tighten the cord, which in turn stretches the head and changes the drum pitch. It is struck with a curved wooden beater. (2) Set of African drums of any shape used for communication or that emulate an African language for dialogue during a performance.
Tama. A Japanese drum brand founded in 1965 by the Hoshino Gakki instrument manufacturing company. Originally branded as “Star Drums,” the
company produces high-quality drums and percussion hardware with many models that continue to use the name Star, such as Starclassic. Tama was one of the first brands to feature heavy-duty hardware designed for the touring drummer and mounting systems that did not pierce the shell of their drums. tamalin (Af.-Akan). A single-headed, rectangular frame drum. The tamalin is held by one hand that adjusts the tone by pressure of the fingers on the inside of the head as the other hand strikes the head. tambaque. See atabaqué. tambo. Abbreviation for tambourine. This was a common name for the instrument and the player during the American minstrel era of the late 19th century. tambor (Por., Sp.). See drum. tambor de copa (Sp.). See goblet drum. tambor de fricción (Sp.). See friction drum. tambor de tronco hendido (Sp.). See slit drum. tambor grande (Sp.). See bass drum. tambor militar (Sp.). See military drum. tambor pequeño (Sp.). See snare drum. tambor provenzal (Sp.). See tambourin provençal. tambor redoblante (Sp.). See tenor drum. tambora (Sp.). (1) Large, narrow-shell, double-headed tom tom played horizontally with both hands or one hand and the other with a stick striking the shell. (2) South American bass drum. tamboreto (Sp.). A small snare drum. tamboril (Sp.). See tabor.
tamborilete (Sp.). See tambourine. tamborim (Por.). A small, single-headed, frame drum measuring six inches in diameter. The tamborim is held in one hand and struck with a wooden stick or a plastic switch and is the smallest drum in the Brazilian samba school percussion ensemble. tamborino (Sp.). See tenor drum. tamborón (CA). A cylindrical, double-headed drum of European origin used in Guatemala. tamborón (Sp.). See bass drum. tambour (Fr.). See snare drum. tambour à corde (Fr.). See string drum, lion’s roar, and friction drum. tambour à fente (Fr.). See slit drum. tambour à friction (Fr.). See friction drum. tambour à une seule peau (Fr.). See single-headed drum. tambour arabe (Fr.). See darabukka. tambour armée (Fr.). An army snare drum. See field drum. tambour avec timbres (Fr.). Snare drum with snares on. tambour basque (Fr.). See tambourine. tambour classique (Fr.). Typical snare drum. This term is sometimes used as a modifier for sticks. tambour con cuerdes (Sp.). See string drum and lion’s roar. tambour d’acciaio (It.). See steel drum. tambour d’acier (Fr.). See steel drum.
tambour de basque (Fr.). See tambourine. tambour de bois (Fr.). See slit drum. tambour de frein (Fr.). See brake drum. tambour de Garde Républicaine (Fr.). Metal-shelled, rope-tension field drums. tambour de provence (Fr.). See tambourin provençal. tambour d’empire (Fr.). See parade drum. tambour d’ordonnance (Fr.). A military rope drum with metal shell. Ordonnance refers to the levels of government and can be translated as regimental drums, commonly painted in the colors of a specific regiment. tambour en peau de bois (Fr.). See wood-plate drum. tambour Indien (Fr.). Native American drum. tambour lansquenet (Fr.). A wooden-shelled military rope drum. See tambour d’ordonnance. tambour militaire (Fr.). Military drum. See field drum. tambour militaire sans timbres (Fr.). Military drum without snares. tambour petite (Fr.). Small snare drum or piccolo snare drum. tambour provençal (Fr.). See tambourin provençal. tambour roulant (Fr.). See tenor drum. tambour sahariens (Fr.). A single-headed, darabukka-type drum with an hourglass shape from the Middle East. Tambour sahariens are made of either metal or clay. Saharien is the French word for “of the Sahara.” tambour sur cadre (Fr.). See frame drum. tambour tubulaire (Fr.). See barrel drum.
tambourin (Fr.). French term for a deep drum, typically having a long, narrow, cylindrical shell without snares. Associated with the Provence region of France, it is also known as the tambourin provençal. Tambourin (Ger.). See tambourine. It can have only jingles or be constructed with both jingles and bells, which are mounted inside the frame of the drum. tambourin à main (Fr.). See hand drum. tambourin de campagne (Fr.). South American tambourine. tambourin de provence (Fr.). See tambourin provençal. tambourin provençal (Fr.). A deep tenor drum without snares. Although the original folk instrument of the same name does have a few snares on the top head, in a classical setting the drum most often used is just a deep tom. It is also known as tambourin. Fr. tambour provençal; Ger. Provenzalische Trommel; It. tambour provenzale. tambourine. A single-headed frame drum with one or two rows of jingles or pellet bells affixed to the frame. It is struck, shaken, or caused to vibrate by the friction of a thumb roll or finger roll. The modern rock and roll instrument may not have a head, being just a plastic frame with jingles. Fr. tambour de basque; Ger. Schellentrommel, Tambourin; It. tamburo basco; Sp. pandereta. tambourine jingles. Thin metal discs with a double bend that allows a pair to strike flat against each other on a convex, raised ring area. tambourine nails, tambourine tacks. Small, round-headed tacks with a short length so as not to protrude on the interior of the narrow-depth frame of a tambourine. Used to affix a skin head to the shell. See head. tambourino (It.). See tambourine. tambura (Hin.). A long-necked drone lute from India. The tambura is used to accompany performances of the sitar and tablā drums. tamburelli, tamburello (It.). See tambourine.
tamburello basco (It.). See tambourine. tamburetta (It.). See tambourine. tamburi baschi (It.). See tambourine. tamburi militari (It.). Military drums. See field drum. tamburin (Ger., Rus.). See tambourine. Tamburin ohne Schellen (Ger.). A tambourine without jingles. See frame drum. tamburino (It.). (1) A drummer or person who plays a drum. (2) A generic term for a drum. tamburino (Pol.). See tambourine or percussion. tamburino Cinese (It.). A small Chinese drum. tamburino senza cimbali, tamburino senza sonagli (It.). Tambourine without jingles. See frame drum. Tamburinschelle (Ger.). See tambourine jingle. tamburo (It.). A generic term for drum or snare drum. tamburo a calice (It.). Goblet drum. tamburo a una pelle (It.). See single-headed drum. tamburo acuto (It.). High-pitched drum. tamburo alto (It.). See snare drum. tamburo arabo (It.). See darabukka. tamburo basco (It.). See tambourine. tamburo basco con sonagli (It.). Tambourine with jingles.
tamburo basso (It.). See long drum. tamburo chiaro (It.). See snare drum. tamburo coperto (It.). A snare drum that is muffled with a cloth covering. tamburo d’acciaio (It.). See steel drum. tamburo di basilea (It.). See parade drum. tamburo di freno (It.). See brake drum. tamburo di frizione (It.). See friction drum. tamburo di legno (It.). See woodblock and log drum. tamburo di legno africano (It.). See log drum. tamburo di legno pelle (It.). See wood-plate drum and wood drum. tamburo grande (It.). Large drum without snares. See bass drum. tamburo grosso (It.). See bass drum. tamburo indiano (It.). Native American Indian drum. tamburo militaire (It.). Deep military snare drum. tamburo orientale (It.). Chinese drum. tamburo piccolo (It.). Small snare drum. See piccolo snare drum. tamburo provenzale (It.). See tambourin provençal. tamburo rullante (It.). Field drum without snares or tenor drum. tamburo senza corde (It.). Drum without snares or snares off. See tenor drum. tamburo sordo. South American drum without snares. tamburo tubolare (It.). See barrel drum.
tamburone (It.). See bass drum. tampon (Fr.). See double-ended mallet. tamtam (Ger.). See tam-tam and gong. tam-tam, tam tam. A large, flat gong with the edge rounded and slightly, if any, turned back. The tam-tam has an indefinite pitch, long sustain, and a wide spread of harmonics when struck with a heavy tam-tam beater. They are also capable of producing an unlimited number of harmonics and timbres when stroked, rubbed, bowed, or scraped to produce harmonics. A boss, also known as a button or nipple, is absent on this instrument. The terms tam-tam and gong are often synonymous, but the term gong should only apply when there is a specific, tuned pitch, and the term tam-tam should only apply for the instrument commonly found in Western orchestras and bands. Chinese instruments, though called gongs, are most often tam-tams. Pitched gongs originate in Southeast Asia (Thailand region) and the islands of Indonesia.
tam-tam claire (Fr.). High tam-tam. tam-tam grave (Fr.). Low tam-tam. tam-tam posizione ordinario colla mazza (It.). Tam-tam in the normal playing position struck with a heavy beater (i.e., tam-tam beater). tam-tam posizione orizzontale senza risonanza (It.). Tamtam laid horizontally so that there is no resonance (muffled). Tam-tam tief (Ger.). Low tam-tam. tam-tam très grave (Fr.). Tam-tam (very low). tango bass drum. A single-tension, narrow-depth bass drum commonly
measuring 8 inches deep by 24 inches in diameter. Manufactured during the early 20th century, tango bass drums were designed as lightweight instruments of a small size for the convenience of transporting them. tango snare drum. A single-tension, piccolo snare drum with no lugs measuring 3 inches deep with a diameter of 12 to 13 inches. See tango bass drum. tanning. The process of curing the skin of an animal in preparation for its use as a vellum or drum head. Tanning can be accomplished in such a way as to make the skin hairless and translucent or white, or with hair remaining on the skin. tanta. Latin American gong. Tanzkastagnetten (Ger.). Dance castanets. tap bell. See desk bell. tap box. See woodblock. tap shoes. Two blocks of wood that have sets of taps from a pair of tap shoes loosely nailed to them. They are played against the floor or a hard board to emulate tap dancing. See clogs. tap stroke. A stroke where the stick begins close to the head, moves in a downward motion to the head, and then either returns to the original starting position to execute another tap stroke, or ends in a higher position to execute a full stroke. tapan. A double-headed drum of Eastern Europe. taper. (1) The part of a snare drum stick or other object that gradually decreases in width. (2) A direction to reduce the size or volume. tapone. See flower drum. tār (Arab.). Middle Eastern frame drum. tarabuka, tarbourka (Arab.). See darabukka.
tarélki (Rus.). See cymbals. tarole, tarolle (Fr.). A thin snare drum measuring 13 inches in diameter or less. Varèse scores for this in Ionisation. Tasten Nacheinander loslassen (Ger.). Slowly release the damper of the bars. Tastenxylophon (Ger.). See keyboard xylophone. tastiera (It.). Keyboard. tavola da lavare (It.). See washboard. tavola dilegno (It.). See wooden board. tavoletta (It.). A clapper used for summoning nuns to prayer in a convent. It is similar to paddle castanets but with a pair of rectangular blocks on the paddle instead of castanets. tavolette (It.). See woodblock and wooden board. taxi horn. A sound effect instrument that imitates an auto horn. Typically performed by a bulb horn, they can be pitched as in Gershwin’s An American in Paris. Recent research shows that the lowest pitch for Gershwin’s taxi horns should be one octave lower than common practice. See bulb horn. tbilat. Small, laced-head kettledrums from Morocco. See naqqārah. tela (Sp.). The thin membrane in the resonators of South American and Mexican marimbas. It is commonly made from the intestines of a pig and attached with beeswax. telegraph. A device that imitates the sound of a clicking telegraph machine. See cricket call and traps. telephone bell. (1) A small hemispheric bell found inside telephones. (2) A sound effect instrument that imitates the telephone bell. See traps. telescoping brushes. See brushes. Teller, Tellern (Ger.). Plates or crash cymbals.
Tempelblöcke (Ger.). See temple blocks. Tempelglocke (Ger.). Japanese temple bell. See dobači. temple blocks. Hollow blocks of wood typically mounted in sets of five graduated sizes. Originating in Asia, they were popular in early jazz and dance music for use as trap instruments on a drum set. Also known as Korean, Japanese, or Chinese temple blocks, they may be intricately carved with dragon or floral designs and are often painted in red and gold. The modern instruments are also made from constructed plywood or hardwood boxes, or from molded plastic. temple blocs (Fr.). See temple blocks. temple castanets. A pair of hollow wooden blocks attached to a handle and struck by a beater that is attached to the handle by a flexible length of metal. They sound similar to temple blocks. temple cup bell. See Japanese temple bell. tenabari. Latin American rattles made from butterfly cocoons. tenor (Sp.). A small Guatemalan marimba. tenor drum. (1) A deep, double-headed drum without snares. (2) A field drum with snares off. Fr. cassa roulante, tambourin; Ger. Rührtrommel, cassa rullante; Sp. caja rodante. tenor drum sticks. Hard felt beaters with leather straps or cord attached to the end of the handle. The straps allow the performer to twirl the tenor drum sticks while marching. See Scotch bass drum. tenor Trommel (Ger.). See tenor drum. tenors. (1) Single-headed toms of graduated sizes in sets of four, five, or six mounted in a harness for use in a marching percussion section or drumline. They typically range in size from 6 to 14 inches and are also commonly called quads or quints. (2) The mid-range instrument in a steel band. See steel drum.
tension knob. The knurled end of the screw used to tighten the snares on a strainer. tension rod. A long threaded metal screw used to tighten the head or heads of a drum. For separate-tension drums, the tension rod connects the counterhoop to a lug, which is commonly located inside a casing on the shell of the drum and has a receiver nut. For single-tension drums, the tension rod connects two counterhoops on opposite sides of the shell together. Tension rods are turned by the use of a drum key, thumb-screw design on the end of the tension rod, or some type of wrench. The counterhoop end of a tension rod can have various shapes in order to connect to the key or wrench, and a large “T” shape, known as a T-rod, is common for bass drums, timpani, and other drums that require rapid tuning. Tension rods are commonly known by their diminutive rods.
ten-stroke roll. A standard drum rudiment composed of a series of four double strokes followed by two accented, alternating single strokes, all in an even rhythm (llrrllrrLR or rrllrrllRL). See rudiments and appendix N, “PAS 40 International Drum Rudiments.” tenu, non-vibré (Fr.). With pedal and without vibrato. This is a direction for a vibraphone to sustain the sound and to turn the motor off. tenu, vibré (Fr.). With pedal and with vibrato. This is a direction for a vibraphone to sustain the sound and to turn the motor on. tepanahuaste, teponahuaste (CA). A slit drum from Honduras and other Central or South American countries. teponaztli (CA). Mexican log drum. teschio cinese (It.). See Chinese wood blocks. tête (Fr.). Head or tip.
Thai gong. A tuned gong with a raised boss in the center and sharply bent back edges. Thai gongs have clear, focused pitches and a medium-long decay when struck on the boss with a hard, padded mallet. See button gong. Thailand gamelan gongs. See Thai gong. Thailand tree bells. Small brass cup bells from Thailand mounted horizontally on a stand. Microtonal sounds are possible due to their random tunings. T-handle. A tension rod for timpani in the shape of the letter T. T-handles are used for the rapid tuning of timpani by hand and are commonly not found on pedal-tuned timpani. theater lightning. An effect device that flashes light at the same time a sound effect for thunder is played. thigh slapping. A performance technique to produce rhythmic pops, rubbing sounds, and slapping sounds by striking the palm and back of a hand on one’s thigh. Thigpen, Edmund Leonard (Sep 28, 1930–Jan 13, 2010). Elected to the Percussive Arts Society’s Hall of Fame in 2002 in the categories of author, band leader, education, and recording artist, Ed Thigpen is best known for his collaborations with Oscar Peterson, his sensitive use of brushes on drum set, and his dedication to teaching via clinics and lessons. See PAS Hall of Fame. For a full biography, visit www.pas.org. thirteen-stroke roll. A standard drum rudiment composed of six double strokes followed by an accented single stroke (llrrllrrllrrL, rrllrrllrrllR). See rudiments and appendix N, “PAS 40 International Drum Rudiments.” Thirty-One-Tone Bells. Invented by Erv Wilson, Thirty-One-Tone Bells is a microtonal instrument with 31 pitches equally dividing the single octave range, one microtone below C5 to one microtone below C6. The instrument does not transpose. Thirty-One-Tone Vibe. Invented by Erv Wilson, the Thirty-One-Tone Vibe is a microtonal instrument with 31 pitches equally dividing the octave. This system creates symmetrical scales of 5, 7, 12, and 19 tones as well as many ethnic scales. The aluminum bars are laid out in five rows with four damper
bars and a damper pedal. This vibe has a range of one microtone below C4 to one microtone above C7. three-mallet grip. A method of holding either (1) two mallets in one hand and a single mallet in the other hand or (2) three mallets in a single hand. three-point strainer. A strainer that mounts to the shell of a drum using three screws. three-tone whistle. See locomotive and apito. three-way tensioning (snare tuning). A tuning system invented by Billy Gladstone whereby the tension of the batter (top) and snare (bottom) heads of a drum may be tuned from the top of the drum by means of a three-way drum key that adjusts either or both heads depending on which position the key is attached. This also requires a sophisticated design of the tension rods and lugs in order to accommodate the three-way key. thumb piano. Common term for any African lamella-phone. See kalimba. thumb rod. A threaded bolt with a winged protrusion on the end that functions as a tension rod for hand tuning. See tension rod. thumb roll. A technique used to sustain the sound on a tambourine or drum by rubbing a thumb on the head to create friction. See finger roll. thumb screw. A threaded bolt with a winged protrusion on the end used to turn the bolt by hand. thumb screw rods. Tension rods that have one end designed with a winged protrusion on the end for turning the rod by hand. thumbs-up timpani grip. See timpani grip. thumb-up cymbal grip. A manner of holding a snare drum stick when playing a ride cymbal whereby the thumb rests on top of the shaft of the stick.
thunder clapper. See thunder sheet. thunder drum. A heavy skin head attached to a large, square, wooden frame. The head is struck with a large beater. thunder sheet. A large sheet of tin that is suspended and shaken or struck by fist or mallet to imitate the sound of thunder. Fr. machine à tonnerre; Ger. Donnerblech; It. lastra del tuono; Sp. lamina metalica. thunder stick. See bull roarer. Tibetan prayer stones. See prayer stones. Tibetanische Gebetsteine (Ger.). Tibetan prayer stones. tied rolls. A roll that smoothly connects to a single note. In percussion notation, tied rolls end with a single sound on the second note of the tie and do not continue through for the value of that note, unlike common practice on most sustaining instruments and the voice. tief, tiefe (Ger.). Low tone or bass note. tiefe Glocke (Ger.). Low-pitched bell.
tiefe Glocken (Ger.). Low bells or chimes. teife Glocken von unbestimmtem Klang (Ger.). Low bells of indefinite pitch. tiefes Glockengeläute (Ger.). Deep bells (or low bells) of indeterminate pitch. Tierschelle (Ger.). See cowbell. Tierstimmeneffekte (Ger.). See animal sound effects. timbal (Sp.). See timpani. timbalao (Sp.). A tenor drum from Latin America. timbale (Fr.). See timpani. timbale à pédale (Fr.). See pedal-tuned timpani. timbales. A pair of single-headed, cylindrical metal shell drums, struck with thin sticks on the heads, rims, and shells. Timbales measure between 12 and 16 inches and are commonly used in Latin American and Cuban music.
timbales (Fr.). See timpani. timbales cubaines (Fr.). See timbales. timbales cubanis (It.). See timbales.
timbales cubanos (Sp.). See timbales. timbales latino-americano (It.). See timbales. timbales orientates (Fr.). See tablā drums. timbalitos. Small-sized timbales. timbals (Sp.). See timpani. timbirimba. Primitive marimba from Ecuador. Timbrack. An instrument composed of various contrasting sounds arranged in a keyboard configuration. Pitched notation functions as an efficient means of specifying a large number of unrelated instruments to be played once the performer is accustomed to which sound will occur on a written pitch. The term is a conjunction of timbre and rack and was coined by Michael Udow.
timbre (Fr.). Accented, ringing, with a rich sound.
timbrel. Tambourine or a frame drum with jingles. timbres (Fr.). Bells. timbres (Fr.). (1) Jingles or pellet bells. (2) Snares on a drum. See jeu de timbres. timpanetti (It.). See timbales. timpani. Tunable drums with a single head of skin or plastic stretched over a bowl-shaped shell of metal or fiberglass. Commonly played in sets of two, four, or five, timpani range in size from 20 to 32 inches in diameter, and a single drum is called a timpano. They are tuned by a variety of devices, the modern instruments using a foot pedal system. Also called kettledrum, the common types or descriptions of timpani include hand-tuned, pedal-tuned, chain-tuned, cable-tuned, Dresden, Baroque, and machine. Both hard and soft mallets are used, and the music is notated in the bass clef. Parts of a timpani include the bowl, head, counterhoop, tension rod, strut, pedal, finetuner, tuning gauge, spring adjustment screw, base plate, pawl and clutch, level bar, and T-handles. The type of head, shape of the bowl, and distance the collar of the head extends over the bowl greatly affect the tonal characteristics of timpani. Fr. timbales; Ger. Pauken; It. timpani. See timpano..
timpani a pedali (It.). Pedal timpani. See pedal-tuned timpani. timpani banner. A cloth banner that is hung over the outside of timpani when mounted on a horse. The banner displays the heraldry of the military command for the soldiers. timpani glissando. A technique performed by rapidly raising or lowering the pedal immediately after or while striking the head. timpani grip. The manner timpani sticks are held by the player. Two common approaches are based on the position of the thumb in relationship to the shaft of the mallet, and are known as the French grip and the German grip. The French grip is also known as the thumbs-up timpani grip.
timpani guild. An ancient society of artisans who practiced the art of performing on timpani. In order to be legally allowed to play timpani in public one had to become a member of the guild. This was done through an apprenticeship with a master in the guild.
timpani harmonics. A performance technique whereby a finger is placed on a nodal point of the timpani head when the drum is struck, producing an audible harmonic. timpani mallets. Striking implements for timpani. Timpani mallets are constructed with a long, sometimes flexible shaft or handle with an enlarged head of wood, felt, or flannel, and the type of mallet is often specified in music by the composer. The heads of timpani mallets are commonly covered with piano felt by a variety of methods of sewing, so as to produce a wide variety of tonal characteristics when the head is struck.
timpani mute. A small felt or soft leather pad placed on the timpani head to reduce resonance. timpani orientali (It.). See tablā drums. timpani roll. A method of producing a sustained sound on timpani by evenly alternating single strokes at an appropriate speed for the tension of the head. timpanist. A person who plays timpani. timpanista (It.). See timpanist. timpano (LA). See marimba. timpano. Singular for timpani (i.e., one drum from a set of timpani). timpano piccolo (It.). See piccolo timpani.
timpanos (Sp.). See timpani. timpany. See timpani. timp-bass. A unique instrument constructed from the bowl of a timpani and the neck of a string bass. This instrument was built and used by George Hamilton Green Jr. and his brother, Joseph Green.
timplipito (Rus.). A pair of small, single-headed, clay drums with skin heads. The timplipito is tensioned by leather lacings and tuned approximately a fifth apart. timp-toms. Single-headed toms of graduated sizes in sets of two or three mounted in a harness for use in a marching percussion section or drumline.
They are typically of larger diameter than modern tenors and were common during the 1960s and 1970s. See tenors. tin horn. See metal rattle. tin rattle. See metal rattle. tintements (Fr.). See jingles. tintinnarie (It.). See jingles. tip of stick. The small end of a snare drum stick, usually in the shape of a ball, bullet, or acorn. See snare drum sticks. tipper (Gae.). A double-headed wooden beater of Ireland. See bodhrán. Tischglocke (Ger.). Dinner bell or hand bell. tjing. A long-ringing pitched gong of Korea. Though pitched, this gong is flat with a turned back edge. tlapanhuehuetl (CA). Aztec Indian drum. toad. See frog. tocsin (Fr.). See alarm bell. toe bounce technique. A technique whereby a drum set player rapidly bounces the bass drum pedal beater into the drum head using only motion of the toe while holding the leg aloft. It is often done after playing a full stroke by the foot with the pedal. toere, to’ere. Polynesian hardwood log with one slit running lengthwise to produce two tones. Played with one or two cone-shaped hardwood sticks while placed on the ground in a vertical position. Toere are commonly used to accompany dancing throughout the Pacific Islands. toke (Af.). See atoke. tôle (Fr.). See thunder sheet.
tôle pour imiter le tonnerre (Fr.). See thunder sheet. tom, tom tom, tom-tom. Single-headed or double-headed drum of varying depth and diameter. They are used as part of a drum set, or as concert toms. tom tom à una pelle (It.). See single-headed tom tom. tom tom aigu (Fr.). High-pitched tom tom. tom tom chinois (Fr.). Chinese tom tom. tom tom cinese (It.). Chinese tom tom. tom tom grave (Fr.). Large tom tom. tom tom holder. A mount for a tom, commonly designed as a rod that protrudes from the bass drum shell and into the tom with a hinged or swivel joint between them. It can also mean a cradle design for Chinese tom toms.
Tom Tom spiel (Ger.). See rototoms. tom-tom. See tom tom. tonal bass drums. Indefinite-pitched bass drums used in graduated sizes by
marching percussion sections. Commonly found in sets of four, five, and six, they are usually tuned at the intervals of a third. tone blocks. See tuned wood block. tone cluster. A musical chord having three or more adjacent pitches from the pitches in a scale. tone control, tone-control. An internal muffler operated by a knob or lever on the outside of a drum. See muffler. tonitruante (Fr.). Thundering or thunderous. tonnerre à poignée (Fr.). See thunder sheet. Tontrommel (Ger.). Small drum with a clay shell. top cymbal. See ride cymbal. totodzi (Af.-Ewe). A small, single-headed wooden drum, played with wooden sticks. touette, touetti. See toere. toy drum. A small drum of narrow width and depth, intended for use as a child’s toy. The shell is often made of tin, and sometimes the heads are made of paper. toy musical hose. See corrugated tube. toy piano guts. The sounding rods or bars removed intact from a toy piano and struck with a hard mallet or beater.
toys. A generic term for any small percussion instrument, especially instruments that fall into the category of traps. tr. Abbreviation for tremolo. See tremolo. traditional cross grip. See cross grip. traditional grip. A method of holding snare drum sticks originating from the need to reach over a drum hanging at an angle from a sling or carry. The right hand holds the stick between the thumb and index finger with the palm down. The left hand holds the stick resting in the crotch of the thumb and index finger, and the stick is supported by the third and fourth fingers with the wrist in a vertical position.
train imitation, train whistle. See locomotive. Transcelest. See Twenty-Two-Tone Transcelest. translucent head. Clear or transparent drum head. trap board. See trap table. trap case. A rectangular or square box, typically made from fiberboard, plastic, or thin plywood used to store small instruments. A trap case typically has dividers or compartments to help organize the instruments and is often constructed with wheels for ease of transport. See hardware case. trap door bass drum. A bass drum with a hinged portion of the shell that opens outward. The trap door bass drum is used to store other instruments, sticks, and hardware in order to easily transport an entire trap set (drum set) to a performance venue. trap kit. See drum set.
trap rails. A curved strip of metal attached to the shell, counterhoop, rack, or console to which small instruments are attached. trap set. See drum set. trap stand. See trap table and trap tree. trap table. Hardware or a piece of furniture designed with a flat, padded, or carpeted surface upon which small accessories, traps, and mallets are placed. Trap tables, in order to be easily transported, are often constructed of two parts: a trap stand and a trap board. The trap stand is typically collapsible, designed as a folding tray–type stand similar to a food server’s stand or a tubular stand with horizontal arms on the top. The padded trap board can be any size, but typically measures at least two feet by one and a half feet. For concert halls, large waist-high cabinets with padded tops and storage underneath often function as trap tables. See console. trap tree, trap rack. A vertical stand to which multiple traps are attached, each of them typically suspended and struck while they remain attached to the tree. trap trunk. See trap case. traps. A collective term for small percussion instruments, sound effect instruments, novelty sounds, ethnic effects, imitation instruments and devices, and various bells and whistles. The term is generally associated with early theater, vaudeville, and silent film percussionists, but traps were also an integral part in the growth of the drum set during the early 20th century, especially for music of an exotic nature. The following pages, which contain pictures and descriptions of many of the most common trap and early jazz effect instruments, are from the catalog of percussion instruments titled The Drummer’s Vade Mecum: A Complete and Up-to-Date Catalog of Drums, Traps and Drummers’ Supplies published in 1921 by the Dixie Music House of Chicago, courtesy of Rob Cook.
tree bell fight gongs. See fight gong bell tree. tree bells. See bell tree and mission bell tree. tree cymbal. See cymbal tree. tree toad. See frog. tremolo (It.). In percussion music, an indication to play a roll or a sustained sound on the instrument. It often appears over the note abbreviated as “tr.” with a tremolo marking extending for the length of the note, as desired. Tremolo regelmässig verlangsamen (Ger.). Slow down the tremolo in an even manner. Tremolo sehr unregelmässig (Ger.). Very uneven tremolo. trepei (Fr.). See triangle. treppiede (It.). See triangle. très animé (Fr.). Fast. très atténuée (Fr.). Well accentuated. très égale (Fr.). Very even, very equal. très lent (Fr.). Very slowly. très long (Fr.). Very long. très modère (Fr.). Moderately. treschotka (Rus.). See ratchet and cog rattle. trezvonï (Rus.). See chimes. triangel (Ger.). See triangle. Triangel mehr fach (Ger.). Several triangles.
Triangelschlägel gestrichen (Ger.). Scrape with a triangle beater. Triangelschlegel (Ger.). See triangle beater. triangle. A length of steel rod bent into the shape of a triangle that rings with a sustained tone of indefinite pitch. The instrument is suspended and struck with a small metal triangle beater. triangle beater. A thin metal beater with which to strike a triangle. Usually made of steel, triangle beaters are sold in sets having pairs of graduated weights and are sometimes designed with beater heads that distribute the weight of the beater toward the beater end and insulate the beater from the main shaft. Pairs are needed for fast, intricate musical patterns commonly performed on a triangle mounted on two triangle clips. For delicate passages, knitting needles or beaters made of light metals are occasionally used. triangle clip. A device with at least one loop of wire or cord on which a triangle is hung. A triangle clip is often spring operated to clip to a music stand or trap stand and typically will have two loops, the second being a slightly larger one to serve as a backup in case the first one breaks during a performance. triangle holder. A device similar to a triangle clip that mounts to its own stand rather than clips to a stand. Triangle holders often have several loops of cord or string mounted on a bar in order to hold more than one triangle.
triangle-flanged hoop. A counterhoop with three bends, each of which produces a rib of metal called a flange onto the main hoop. Flanges create strength and an additional surface to which items can be anchored, such as claw hooks and tension rods. See counterhoop. triàngolo (It.). See triangle. tríangulo (Sp.). See triangle. trihorn. An instrument provided by the composer Benedict Mason for his composition !. trill colle monete (It.). Roll with coins.
trille serré (Fr.). Fast roll. triller (Ger.). Trill or shake. triller avec des pieces de monnaie (Fr.). Roll with coins. Trillerpfeife (Ger.). Alarm whistle or pea whistle. trillo (It.). Tremolo or shake. trimmings. Decorations and reinforcement pieces on the outside of instruments and cases. Trimmings can be a metal edge, lock, or metal corner on a case as well as decorative pieces on a strainer, lug casing, or shell of a drum. Trimmings include all knobs and handles and are sometimes available in precious-metal plating, such as gold. Trinidad drum. See steel drum. Trinidad-gongtrommel (Ger.). See steel drum. Tri-Nome. An electronic instrument made by Ballotti that can simultaneously produce three different rhythms at different speeds with three different pitches. trinquete (Sp.). See ratchet. triple ratamacue. A standard drum rudiment that consists of three alternated drags followed by a single-stroke triplet on the third drag. See rudiments and appendix N, “PAS 40 International Drum Rudiments.” triple stroke. A stroke whereby three sounds are made from a single motion by any combination of the arm, wrist, hands, and fingers. Typically, the second two notes are bounces produced by the first stroke. triple-stroke roll. A sustained sound produced on a drum by a series of alternating triple strokes. Triple-stroke rolls are the typical type used for sustained concert rolls and can also be classified as a multiple-bounce roll. trocano. Large log drum.
T-rod. See tension rod. Trogxylophon (Ger.). See trough xylophone. trolées (Fr.). See tremolo. tromme (Dan.). See drum. trommel (Dut., Ger.). See drum. Trommelfell (Ger.). See drum head. Trommeln (Ger.). See drum. Trommelreifen (Ger.). See counterhoop. Trommelschlegel (Ger.). See snare drum sticks. Trommelstocke, Trommelstocken (Ger.). See snare drum sticks. Trommelwirbel (Ger.). See drum roll. trompe d’auto (Fr.). See auto horn. trompe de brume (Fr.). See fog horn. tronca (It.). Short. troncs d’arbres (Fr.). See log drum. trough xylophone. A keyboard percussion instrument with xylophone bars mounted over a rectangular box that acts as a single resonator for all of them. Trough xylophones typically have a curved shape to the top and are ornately decorated when used in gamelan orchestras. trunk. A heavy wooden case with reinforced corners, handles, and locking devices. Trunks are used to store and ship large drums, such as timpani, as well as fragile instruments that must be dismantled in order to move, such as chimes, marimbas, and vibraphones. As they are sometimes quite heavy, they often are manufactured with wheels and sturdy handles.
trunnion hook. A connecting design for hardware with two round protruding surfaces that sit or hook into matching grooves on a second object. Trunnion hooks are ideal for claw hooks with long tension rods as the rod can be merely loosened rather than entirely unscrewed in order to be released from the claw hook. tsanatsel. A rattle from Ethiopia. See sistrum. tsuzumi. A Japanese hourglass-shaped drum. It is one of the oldest terms used for drum in the written history of Japan. See talking drum and changgo. tuaka, touka (Rus.). A long wooden board hit with wooden hammers. tubalcain. See keyed glockenspiel. tubaphon (Ger.). See tubaphone. tubaphone. A keyboard percussion instrument constructed with metal tubes, rather than bars.
tubaphono (It.). See tubaphone. tube bells. See chimes. tube shaker. Metal tube filled with pellets or seeds, also known as chocalho. tube stands. Hardware designed with sections of tubes of different sizes in order to collapse inside of each other. Tube stands allow for more compact storage of the stand and lighter weight when transporting to a gig. See snare drum stand and cymbal stand. tubes de bambou (Fr.). See bamboo wind chimes. tubes de cloches (Fr.). See chimes. tubes-resonnateurs (Fr.). Resonator tubes. tubi (It.). Resonators, tubes. tubi di bambù (It.). See bamboo wind chimes. tubi di rionanza (It.). Resonator tubes. tubo. See metal shaker. tubo sonoro (It.). A tube shaker. See chocalho. tubofono (It.). See tubaphone. tubolo. See chocalho. tubs. Slang term for the drum set. tubular bells. See chimes. tubular chimes. See chimes. tubular woodblock. A cylindrical woodblock with slits in either end, making it capable of two tones. Tubuscampanophon (Ger.). See tubaphone.
Tuch (Ger.). Cloth. tucker. See lapping tool. tug. See ear. tugboat whistle, tug boat whistle. See steamboat. tumba, tumbas (Sp.). (1) The largest-sized conga drum. (2) A generic term for drum. Tumbadora (Ger.). See tumba and African drum. tumbadora (Sp.). See conga. tumbuk (Arab.). See darabukka. tun. Central American slit drum. tunable tom, tunable tom tom. Early 20th-century term for a tom with adjustable tension. As toms were originally wooden drums with two tacked heads, the use of tension rods were first applied to only the top head and then to both heads. See tuning systems. tuned bongos. A set of two or more bongos tuned to a scale, or a part of a scale. tuned bottles. Glass bottles, arranged by pitch, to create a diatonic or chromatic scale. They are suspended from a rack and played as a keyboard percussion instrument. The pitch of the bottle is determined by its size and thickness, and can be fine-tuned by adding water inside the vessel. tuned bowls. A set of chromatically or diatonically pitched metal, glass, or ceramic bowls. Tuned bowls are typically arranged in a keyboard or diatonic fashion and struck on the edge of the bowl with a mallet. Water is added to the inside of a bowl to adjust the pitch. tuned claves. A pitched set of paired claves. Though chromatic sets are possible, composers typically ask for a few specific pitches in any given piece. Standard wooden claves are then adjusted by filing the end or middle of a clave to raise or lower the stick to the appropriate pitch. Steve Reich writes
for five pairs of tuned claves in Music for Pieces of Wood. tuned cowbells. A set of pitched cowbells, tuned chromatically and of graduated size. They can be mounted, set on a padded surface, or hung on a rack. See cowbell and Almglocken. tuned discs. A set of small, chromatically pitched metal discs. They are spun on a hard surface to produce a ringing sound as they rotate, and were a novelty instrument of the early 20th century. tuned glasses. Water glasses, tuned to pitch by adding water inside the vessel, commonly struck by mallets, as well as sounded by friction on the rim of the glass by a moistened finger. tuned gongs. A set of chromatically pitched gongs. Graduated in size, tuned gongs are usually hung on a rack in a keyboard configuration but can be laid or mounted horizontally. Originating in Thailand, tuned gongs have an obvious boss, are turned back at the edge, and are struck on the boss with a beater. They can be fine-tuned by adding clay to the backside of the boss. tuned metal claves. Pitched claves of graduated size. Though made of solid metal, tuned metal claves produce a sharp ringing sound, similar to a small pipe. Stockhausen requires these in his cantata Momente. tuned percussion. A class of percussion instruments with definite pitch, such as keyboard percussion instruments, timpani, hand bells, staff bells, and rototoms. When this term is applied, it typically means a set of instruments capable of producing at least one full chromatic octave of pitches, though not all of the pitches may be called for in any given piece. tuned piccolo woodblocks. A set of small, chromatically pitched woodblocks mounted in a keyboard configuration and struck with hard mallets. Tuned piccolo woodblocks have a range of C6 to C8 and are non-transposing. tuned pipes. A set of steel or aluminum pipes cut in graduated lengths and mounted to a frame or set on top of a sponge pad. They can be tuned to either a chromatic or diatonic scale and are struck with hard mallets. For resonance, they can be set on a timpani head that is then placed over a hollow barrel.
tuned sake bottles. A set of sake bottles filled with varying amounts of water to produce a chromatic or diatonic scale. They are set in order of pitch, struck with hard, covered mallets, and have a range of C6 to C7. tuned sheep bells. A chromatic set of pitched rectangular sheep bells with their clappers removed. Tuned sheep bells are mounted on a rack or laid flat on a padded surface and struck with hard mallets. tuned tom toms. A set of chromatically pitched, single-headed toms. Tuned tom toms are graduated in size and are typically arranged in a keyboard fashion and produce distinct relative pitches when struck with sticks or mallets. tuned wood block. (1) An early jazz effect instrument, the tuned wood block is a cylindrical woodblock having each end of the cylinder split down the middle producing two tones. Also known as a tubular woodblock. See traps. (2) A woodblock tuned to a specific pitch. tuned woodblocks. A set of chromatically tuned pitched woodblocks mounted or arranged in a keyboard fashion and struck with hard mallets. A set of tuned woodblocks typically has a range of C5 to F6. tuneful percussion. Pitched keyboard percussion instruments, a category of instruments designated in the scores of Percy Grainger. t’ung lo. A saucer-shaped Chinese tam tam with a deep rim, no boss, and ranging in size from 2 to 22 inches in diameter. tuning fork. A metal device used to sound a specific pitch. A=440 tuning forks are commonly used by a timpanist to establish an internal pitch with which to silently tune their drums by striking the fork and holding the handle end against the close flap of the ear canal. tuning gauges. A mechanical device mounted to each drum in a set of timpani that mechanically moves an indicator arm. The arm points toward adjustable letters when the pedal is moved in order to visually identify to what pitch a timpano is tuned. tuning systems. Tuning systems for modern drums typically incorporate the use of a long screw inserted through an opening in the counterhoop and
threaded into a receiver that is attached to a lug anchored to the shell. Prior to this system, heads were either not able to be adjusted after being glued, tacked, or laced to a shell, or were adjusted by various means of tightening a rope or cord. Though tuning systems with rope are still used on ethnic and historical instruments, most modern doubleheaded drums employ one of the following designs of the counterhoop, tension rod, and lug methods: (1) single tension, whereby both heads are tuned by single tension rods freely spanning the distance between the two counterhoops; (2) single tension, whereby both heads are tuned by single tension rods aligned to a specific spot on the shell and span the distance between the two counterhoops; (3) separate tension, whereby each head has its own tension rods anchored to a common lug in the center of the shell; (4) separate tension, whereby each head has its own tension rods anchored to its own lugs on its side of the shell. See head and rope drum.
tunkel (CA). Mayan log drum. tuntina (Hin.). See ektara. tunzu (CA). Guatemalan slit drum. tuoni, tuòno a pugno (It.). See thunder sheet. tupan. See tapan.
Turkanople cymbals. Cymbal brand marketed by George B. Stone and Son during the early 20th century. Turkanople cymbals were manufactured in Turkey, the name being an obvious combination of the place names Turkey and Constantinople. turkey, turkey call. A device that imitates the gobble or cry of a turkey. See traps. Türkische Becken (Ger.). See Turkish cymbals. Türkische Musik (Ger.). See Janissary music. Turkish crescent. A dowel measuring up to six feet in length with various bells attached and crowned with a Turkish crescent with horsetail ornaments hanging from it. Also known as a jingling johnny. Fr. chapeau chinois, pavilion chinois; Ger. Schellenbaum; It. albero sonagli. Turkish cymbal. A cymbal manufactured using the materials and processes developed during the 17th century in Constantinople (the present city of Istanbul). The cymbals have a raised bell, a slight curve to the body of the cymbal (called a bow), and a taper from the center hole of the bell to the edge of the cymbal. They are highly resilient instruments that are fired, baked, and hand hammered by master craftsmen resulting in the modern sound expected from cymbals in the orchestra, band, or on drum sets. Turkish drum. A double-headed bass drum used in Turkish bands during the 18th century. These typically have shallow-depth shells and are struck with a beater, or a beater and a switch. Turkish zils. See finger cymbals. Turmglockenspiel (Ger.). See carillon bells and chimes. turret lug casings. A covering for the tension rod anchor to the shell of the drum that is shaped in a raised, circular pattern. Turret lug casings are commonly found on Camco brand drums and said to be designed by George Way. turtle rattle. The shell of a turtle placed on a handle with small pellets or rocks
inserted. The openings are usually tightly sewn together with rawhide strips. Turtle rattles are commonly used by Native American tribes. tuti (Sp.). Castanets from the Dominican Republic. tutta forza (It.). Everyone play forcefully. tuyau de fer (Fr.). See iron pipe. tuyaux (Fr.). Resonators or tubes. Twenty-Two-Tone Transcelest. Invented by Erv Wilson, the Twenty-Two-Tone Transcelest is a microtonal instrument with 22 unequally tuned pitches per octave. It is constructed from square brass tubes, whose pitches are derived from the just intonation system of the Indian scale of 22 S’rutis. The tubing is laid out in three rows with the outside two rows aligned end to end at the center of the middle row of tubes. The instrument, which has a long sustaining sound and is especially effective for microtonal glissandos, has a range from E4 to F♯7. Twenty-Two-Tone Vibe. Invented by Erv Wilson, the Twenty-Two-Tone Vibe is a microtonal instrument with 22 unequally tuned pitches per octave. The bars, whose pitches are derived from the numbers 1, 3, 5, 7, 9, 11, and 15, are laid out in three rows with a damper pedal and two damper bars. This vibe has a range of two octaves and a perfect fourth, C4 to F6. Twenty-Two-Tone Xylophone. Invented by Erv Wilson, the Twenty-Two-Tone Xylophone is a microtonal instrument with 22 unequally tuned pitches per octave. The bars, whose pitches are derived from the just intonation system of the Indian scale of 22 S’rutis, are laid out in three rows. It has a range of three octaves and a perfect fifth, F4 to C8, and is non-transposing. two-plate roll. See crash cymbals roll. two-tone whistles. (1) A pipe or vessel that simultaneously sounds two tones when blown. (2) A pipe or vessel that has a single tone hole and thereby produces only two tones, one when the hole is open and another when the hole is covered. See cuckoo bird call, traps, and whistle. two-tone wood block. See tuned wood block.
two-way sticks. See double-ended mallets. Tympali (Ger.). See timpani. tympani. See timpani. tympano. See timpano. tympany. See timpani. Tympelles (Ger.). See timpani. typewriter. An actual office typewriter, either manual or electric, used as a sound effect instrument. typewriter effect, typewriter imitation. A device that emulates the sound of a typewriter. The sounds produced include both the tapping of the keys and the bell that rings when the paper carriage reaches the return position. See traps.
U U.S. Army and Navy Signals. Camp Duty beats and signals standardized for use by the United States Army and Navy as first established in 1812 and periodically revised. This specific title first appears in 1898 in a publication by Rumrille, with an official version published in 1915 by the U.S. Marine Corps. See also Sousa, John Philip. uccelli (It.). See bird whistle. uchiwa daiko (Jap.). Japanese paddle drum used in kabuki theater and Buddhist ritual. Its head is mounted on a metal hoop with a handle attached. udar (Rus.). See percussion. udárnye instruménty (Rus.). See percussion. uder (Cz.). See percussion. udu, udu pot. A clay, gourd-shaped pot with an open stem and a hole in the side, originally used as a water jug. When filled with water it produces a variety of bass tones and slapping sounds. UFIP. Acronym for Unione Fabbricanti Italiani Piatti (Association of Italian Cymbal Manufacturers), an Italian company established in the first half of the 19th century, with cymbals being manufactured beginning ca. 1910. Brand names, in addition to UFIP, were often contracted for other companies. These brands include Zinjian, Kashian, Pasha, and Ajiah. The company has also produced ice bells, Burma bells, chimes, bell plates, and other instruments made of bronze. UKA heads. Brand name for premier-quality, calf-skin drum heads manufactured by the Leedy Manufacturing Company during the first half of the 20th century. umstimmen (Ger.). To change the pitch or tuning of an instrument.
umwickelt (Ger.). To wrap around or cover. This usually designates a yarnwrapped or felt-covered mallet head. un piatto con bacchetta di ferro (It.). One cymbal struck with a metal beater. un piatto con la mazza (It.). One cymbal with a mallet. un piatto rullato con bacchette (It.). One cymbal played with sticks or mallets. unafone, una-fon, unaphone, unaphone-calliope. Electronically activated metal-bar instrument manufactured by Deagan during the early 20th century (ca. 1913–1926). It was available in two-, three-, or four-octave, chromatic ranges, and was played by a small keyboard, organ stops, or player-piano type mechanism. Similar to a calliope, it was often seen at circus venues or used for vaudeville-type novelty performances. une paire de maracas (Fr.). A pair of maracas. ùnghia (It.). Fingernail. Universal timpani. A brand name for timpani made by Leedy. Unterreifen (Ger.). See flesh hoop. upbeat, up-beat. A note that immediately precedes a bar line, or the first note of a measure. upstroke, up-stroke. A technical description for when the motion of the stick or mallet begins close to the striking surface and lifts away from the instrument. Usignuolo (Ger.). See nightingale bird call. üstdob (Hun.). See timpani.
V vainas de chivito (Sp.). See seed pod rattle. Varèse, Edgard (Dec 22, 1883–Nov 6, 1965). Elected to the Percussive Arts Society’s Hall of Fame in 1980 in the category of composition, Edgard Varèse is best known in the field of percussion for his landmark percussion ensemble piece titled Ionisation and for his symphonic works that include extensive scoring for percussion. See PAS Hall of Fame. For a full biography, visit www.pas.org. vargan (Rus.). See jew’s harp. Vasentrommel (Ger.). See goblet drum. V-Drums. A variety of types of electronic drum sets, drums, modules, triggers, and other accessories made by the Roland Corporation. velare (It.). To mute or muffle. Velez, Glen (b. 1949). Elected to the Percussive Arts Society’s Hall of Fame in 2014 in the categories of education, band leader, ethnic, and recording artist, Glen Velez is best known for his extensive impact as a performer and teacher on frame drums, including his appearance and collaborations on dozens of albums in most musical genres. See PAS Hall of Fame. For a full biography, visit www.pas.org. vellum. See calf skin. veneer. Plywood used to make drum shells. vent hole. A small hole in the shell of a drum cut for the purpose of letting air escape when the drum is struck. It often has a brass or wood grommet and holds the badge to the shell. Verdi drum. A large-diameter (60-inch), single-headed bass drum used for Verdi’s Requiem.
vérga (It.). Wire brushes. verge (Fr.). Brush, Rute, twigs, switches. Most often this is wire brushes for snare drum and other instruments and Rute only when appropriate in specific repertoire for bass drum. See brushes and Rute. verghe (It.). Wire brushes. verhallen (Ger.). Dying away. verklingen lassen (Ger.). To let die or fade away (let ring or vibrate). verres choques (Fr.). See glass harmonica. verrillon (Fr.). See tuned glasses. verrophone. Invented by Sascha Reckert in 1983, this friction instrument consists of vertical glass tubes of various lengths that are rubbed similar to musical glasses or a glass harmonica. Verstärkungsrohre (Ger.). See resonators. verstimmung (Ger.). Out of tune. vertiped cymbal. A vertical Charleston or low-boy pedal cymbal. vessel rattle. A rattle or shaker made of a hollow tube or gourd and filled with metal shot, beads, sand, or seed. Veterans of Foreign Wars (VFW) marching bands. Musical ensembles established after World War I that led directly to the concept of drum corps and drum and bugle corps competitions on a national level in the United States. vetrata (It.). See sandpaper blocks. vibe (thirty-one tone). See Thirty-One-Note Vibe. vibes. Term established by Clair Omar Musser for his vibraphone, when he first established Musser Marimbas Inc. in 1950. It is now the common slang term for all vibraphones and vibraharps.
Vibra Keymaster. Deagan’s electric action attachment for all types of keyboard percussion instruments and novelty bell instruments. Vibracussion, School of. Self-instructor method distributed with all Deagan instruments during the 1920s and 1930s. vibrafón (Rus.). See vibraphone. vibrafoni (It.). See vibraphone. vibrafono (It.). See vibraphone. vibraharp. This is the trademark name given to Deagan’s vibraphone because the word vibraphone was trademarked by Leedy. See vibraphone. Vibraphon (Ger.). See vibraphone. vibraphone. The original trademark name given to Leedy’s vibraphone invented by Herman Winterhoff in 1924. The instrument consists of aluminum-alloy bars in a keyboard arrangement and an electric motor that, by a series of pulleys, operates rotating vibraphone fans installed on a rod in the top of the resonator tubes. Due to the long sustain of the bars, the instrument also has a damper pedal that operates much like a piano’s, except with only one long, felt-covered damper bar for all tone bars. Though a novelty instrument at first, it has become a mainstay in both the jazz and symphonic world.
vibraphone fan. A rotating disc mounted inside each resonator of a vibraphone. The opening and closing of the resonator varies the dynamic volume of the tone, creating the vox humana or vibrato effect. When not turned on, it is essential that the fans be in the open position for full volume and tone of the instrument. Vibraphonschlägel (Ger.). Vibraphone mallet. See marimba mallets.
Vibraphonspieler (Ger.). Vibraphone player. Vibraplus cymbal holder. An early 20th-century cymbal mounting system that consists of a flat, curved length of spring steel instead of a post beneath the cymbal holder. It allows the entire cymbal to freely vibrate in all directions when struck. vibraslap, vibra-slap. Patented by Latin Percussion founder Martin Cohen, this instrument imitates the rattling sound of the quijada or jawbone. It is composed of a bent steel rod with a wooden ball on one end and a small wooden box with several loose, metal rods mounted in a row inside the box. The small rods vibrate when the ball is struck, creating the sound of the loose teeth of the quijada.
Vibraspieler (Ger.). Vibraphone player. vidé (Fr.). Vacuum (muffled without resonance). Viehschelle (Ger.). See cowbell. Viennese cymbals. Medium-weight pair of crash cymbals (hand cymbals) with a full-bodied range of sound and overtones, which is the characteristic for classical music of the Viennese orchestras.
visuals (marching percussion). Motions by the sticks, beaters, or mallets designed mostly to be seen rather than heard. The motions may or may not actually produce a sound. The most common visuals are the back-stick, stick on stick, and twirling or spinning a stick. Others include playing on the drum carried by the adjacent player on the drumline. Vogelgesang (Ger.). See bird call and nightingale bird call. Vogelpfeife (Ger.). See bird call. Vogelruf (Ger.). See bird call. voilé, voilée (Fr.). Veiled. A direction for the player to cover the drum with a cloth in order to muffle it. volcanic glass. Obsidian glass found in volcanic areas that is used for the construction of wind chimes. Vorschlag (Ger.). Ornament or grace note. vulcanized rubber mallets. Mallets that have heads made from a more durable rubber than natural gum rubber. This is the common type of rubber mallet head. However, some types of natural gum rubber mallets are produced as specialty mallets and are often used for Mexican marimba music.
W W&A, Perfection. See Walberg & Auge. wa wa cymbals. See chap. Wachtel, Wachtelpfeife (Ger.). See quail call (bob white) and traps. Walberg & Auge. American manufacturing company located in Worcester, Massachusetts, from 1903 to 1979. Using both W&A and the Perfection brand names, this company designed, patented, and manufactured hardware and instruments that were supplied to all other drum companies and retail music suppliers. A highly innovative company, its influence on traps, wire brushes, bass drum pedals, and drum stands and holders reigned supreme until the 1960s when other companies began to develop and improve these products. Waldteufel (Ger.). Forest devil. A small friction drum with a string attached at opposite ends to the head and to a small stick, around which the drum is whirled. It is also used to imitate a tree frog, pond frog, or locust. Walzentrommel (Ger.). A circular or cylindrical drum. warm-ups. Composed or standardized playing exercises and procedures to limber the muscles of a single performer or group of performers. Warm-ups often include separate parts for each type of instrument in a marching drumline and are highly technical compositions similar to an étude, in order to perfect specific ensemble skills. wasamba rattle. African rattle made from a branch shaped in the letter L. Dried fruit pods are loosely attached to one side and strike together when shaken by a player holding the other end of the branch. It is also known as sennpo. Waschbrett (Ger.). See washboard. washboard. A ribbed laundry appliance that produces a resonant rasping sound when its metal surface is scraped.
watchman’s whistle. A police whistle or bosun’s pipe, both of which were used as alarms by night watchmen. See traps. water (surf effect). An instrument that imitates the sound of the surf. See traps. water buffalo bells. See bells. water chimes. Metal chimes or metal plates that, when struck and lowered into a container of water, change pitch with a glissando or bending effect. water drum. (1) Native American drum composed of a vessel of water with a skin head attached at the top. The amount of water inside the drum affects the tone. (2) See water gourd and gourd water drum. water effect. An instrument that imitates the running or falling of water. See traps. water gong. A gong that, after being struck or while continuously being struck, is lowered into a vessel of water resulting in a glissando or bend in the pitch of the gong. water gourd. African instrument whereby a hollow gourd is cut in half and floated with the open side down in a vessel of water. It is often struck with a wooden spoon as a beater. water jug. A clay or ceramic jug that is partially filled with water or left empty and can be struck, shaken, or blown for a deep tone. water splash, sound of pouring. A performing technique usually executed by slapping the water with either an open palm or cupped palm, and pouring water from one vessel to another that already contains a significant volume of water. water splash and rain effect. (1) An instrument that imitates the running or falling of water. See traps. (2) A sound made by splashing one’s hand in a bucket of water. The cup of the hand and speed of the motion create varying timbres and volumes for the splash. Waterphone. Invented by Dick Waters, this instrument is a metal vessel with numerous steel rods of varying lengths welded to one side. After water is put
inside the vessel, the rods are struck, bowed, or plucked with the tones being varied by moving the instrument to different angles to create glissando effects.
Waterproof Woven Snares. Trade name for snares patented in 1892 by J. Emile Boulanger (1804–1908), founder of the Duplex Manufacturing Company. They consist of fibers woven around a central core and treated with varnish or other waterproof material, which is then drawn through a die to make a smooth surface. WC, W.C., wc, w.c. Abbreviation for wind chimes.
Webb, William “Chick” (Feb 10, 1905–Jun 16, 1939). Elected to the Percussive Arts Society’s Hall of Fame in 1985 in the categories of band leader, drum set, and recording artist, Chick Webb is best known for his performances and recordings as drummer and leader of his own band during the 1930s. See PAS Hall of Fame. For a full biography, visit www.pas.org. wechseln (Ger.). To change. wechseln in (Ger.). Change to. Wedge. See Groove Wedge. weich (Ger.). Soft. weich aber markant (Ger.). Soft but marked. weiche Schlägel (Ger.). Soft mallets. weicher Filz (Ger.). Soft felt. Wellensiren (Ger.). See siren. werbel (Pol.). A drum roll. WFL Drum Company. See Ludwig & Ludwig. whale drum. A tongued slit drum made from an empty propane tank. Seven to ten tongues are radially cut into the rounded end of a 20-gallon tank; each tongue has a slightly different length, which produces different pitches. whale-skin rattles. Native American Inuit (Eskimo) rattles. whip, whip crack, whip imitation. See slapstick. Fr. fouet; Ger. Peitsche, Holzklapper; It. frustra; Sp. fusta. whip stroke. A technique whereby the drum stick, beater, or mallet begins close to the instrument and is quickly lifted away from the instrument and back down, striking the instrument and coming to rest close to the instrument at or near the original starting point. whirled friction drum. See Waldteufel.
whirly tube. See corrugated tube. whistle. A blown pipe or tube made of metal, plastic, bamboo, or synthetic material that creates a stable pitch. It can be blown across a sound hole or through the pipe or tube and can be constructed to produce more than one tone simultaneously. In addition, the pitch can be changed by additional holes or a plunger mechanism. Common whistle types are nightingale, cuckoo, referee’s or police, slide, bosun’s, train, boat, and air brake. See traps. whizzer. See Waldteufel. Wickelreifen (Ger.). See flesh hoop. wie vorher (Ger.). As before. Wiege (Ger.). See trough xylophone. Wilcoxon, Charley (Nov 26, 1894–Aug 20, 1978). Elected to the Percussive Arts Society’s Hall of Fame in 1981 in the categories of author, education, industry, radio/television, and rudimental, Charley Wilcoxon is best known as a rudimental drummer and teacher and as author of The All American Drummer and Rudimental Swing Solos. See PAS Hall of Fame. For a full biography, visit www.pas.org. William Cowley Parchment Works Company. Founded in 1870, UK-based William Cowley is a family-owned vellum (parchment and drum head) manufacturer. Williams, Tony (Dec 12, 1945–Feb 23, 1997). Elected to the Percussive Arts Society’s Hall of Fame in 1997 in the categories of band leader, drum set, and recording artist, Tony Williams is best known as a jazz-fusion drummer for such artists as Miles Davis, Ron Carter, Chick Corea, and Herbie Hancock. See PAS Hall of Fame. For a full biography, visit www.pas.org. wilmurra. See bull roarer. wind and wood crash. An instrument that combines imitations of both a wind machine and a crash machine.
wind chimes. An instrument consisting of a circular or square frame that is used to suspend various types of resonant materials, which strike together when moved by blowing air or struck with a hand or mallet. Common materials that are used to make wind chimes are bamboo, brass tubes, strips of glass, keys, shells, rock salt, and obsidian. wind howler or steam exhaust. A single-pitched, metal whistle imitating the release of steam or blowing of wind. See exhaust steam whistle and traps. wind machine, wind imitation. An instrument constructed with a horizontal, rotating cylinder to which several wooden slats are transversely attached. When turned, a sheet of canvas lying over the slats creates an imitation of the sound of wind via friction with the slats. See traps. Fr. machine à vent; Ger. Windmachine or Aeolophan; It. macchina a venti; Sp. maquina de viento. wind whistle. See Acme siren. Windglocken (Ger.). See wind chimes. windlass effect. An instrument that, when turned, imitates the sound of a winch raising or lowering. Used to imitate anchors or well buckets. See anchor (heaving) and traps. Windmaschine (Ger.). See wind machine. wineglass. A wineglass partially filled with water and sounded by friction of the finger around the rim of the glass. Adjusting the amount of water changes the pitch, as does tilting the glass. See tuned glasses. wing nut. A threaded nut with two flat protrusions on one end for hand tightening. Wing nuts are commonly used for the tops of cymbal stands, attaching traps and holders to a drum, and on the tubes of hardware. Often, a wing bolt rather than a wing nut might serve the same function.
Wirbel (Ger.). See roll. Wirbel mit den Fingern (Ger.). Roll with the fingers. See thumb roll and finger roll. Wirbeltrommel (Ger.). See tenor drum. wire brushes. See brushes. wire coils. See spring coil. WMP. Acronym for White Marine Pearl, a common finish for drum wrap. wobble board. A length of Masonite board held at the ends by both hands and wobbled to create a water bubble effect. Different sizes create different pitches of the bubbling sounds. woda (SA). See maracas. Wolle (Ger.). Wool. Wollschlägel (Ger.). Wool-covered mallet.
wood and straw instrument. A xylophone, usually four row, with bars mounted at the nodes on woven cords of straw. wood bell. A bell made of wood with an internal clapper, usually also made of wood. wood block. See woodblock. wood crash. An instrument that imitates the crashing of wood. It is usually constructed with a rotating drum having several slats of wood that slap against the drum in rapid succession; similar to a wind machine. See traps. wood drum. A drum constructed entirely from wood, having a resonant wooden head. A suitable substitute is to place a thin layer of wood cut to fit inside the hoop directly on the head of a drum. This instrument can sometimes mean log drum or slit drum as well, and could be interpreted to be a cajón or a Japanese mokusho depending on the circumstance. See wood-plate drum. wood pile. See xylophone. wood planer imitation. An instrument that imitates the sawing of wood planks. See traps. wood slide whistle. A slide whistle made of wood. This has a warmer or darker tone than the normal metal slide whistle. woodblock (Chinese). See Chinese wood blocks. woodblock (piccolo). See piccolo woodblock. woodblock, wood block, wood-block. A rectangular-shaped, solid block of wood with one or two slots cut out the length of the block for resonance. Originally called a Chinese wood block and used for early jazz outfits (drum sets or kits) as a popular trap instrument, it became a standard accessory instrument in the early 20th century. Usually made of maple or other hard woods, it is available in many sizes. In addition to its use on early trap outfits, it is often seen in percussion ensemble literature, concert band literature, and symphony orchestra literature by such prominent composers as Dmitri Shostakovich and John Adams. Fr. bloc de bois; Ger. Holzblock,
Holzblocktrommel; It. cassa di legno; Sp. bois de madera. woodblock holder. A holder for a woodblock that attaches to either the rim of a bass drum for early jazz effects or a modern stand for contemporary use. woodblock quartet. A set of four woodblocks, graduated in size and mounted together on one holder. wooden barrel. See sake barrel. wooden board. A solid plank of wood that is struck with a large mallet or hammer. See sēmantron. wooden book. See le livre de bois. wooden fish. See temple blocks. wooden clapper. See slapstick. wooden scraper. See réco-réco. wooden tom tom. See wood-plate drum. wood-plate drum. A drum with a wooden head, or a drum that has a thin layer of wood cut to fit inside the counterhoop directly on the batter head of a single-headed tom. wrap. The outside covering on a drum shell. It can be made of plastics or metals and is made as a solid color, a sparkle design, a pearl design, or in decorative patterns or configurations unique to specific manufacturers. wrenches. Tools used to adjust hardware or tension drum heads. See drum keys. wrist bells. A row of pellet bells attached to a band and worn on the wrist. wrist stroke. A technique whereby the drum stick, beater, or mallet is moved by motion of the wrist. Though often said to be the primary motion for a stroke, when properly used, the wrist works in conjunction with motions from all other muscles of the arm, hand, and fingers, none of them being
totally isolated.
X xaque-xaque (Por.). Brazilian rattle. xere (Por.). Samba shaker. xilófon (Sp.). See xylophone. xilófon bajo (Sp.). See bass xylophone. xilofono (It.). See xylophone. xilófono (Sp.). See xylophone. xilofono a tastiera (It.). See keyed xylophone. xilofono basso (It.). See xylophone. xilofono in cassetta di risonanza (It.). A xylophone mounted in a trough for resonance. See trough xylophone. xilomarimba (It.). See xylorimba. xocalho (Bra.). Samba shaker. See chocalho. xylocordéon (Fr.). A four-row xylophone as used in Europe by Ernest Bonnay (1865). xylofon (Cz). See xylophone. xylofono (It.). See xylophone. xylo-marimba. See xylorimba. Xylophon (Ger.). See xylophone. xylophone. From the Greek xylon (wood) and phone (sound), the xylophone is a wooden- or synthetic-bar instrument of the keyboard percussion family. Its
standard range is chromatic F3 to C7, and it transposes one octave up from the written pitch. The instrument’s development includes several different arrangements of the keyboard layout including a diatonic, played both from left to right (low to high pitches) and near to far (low to high pitches) from the performer’s perspective. The diatonic layout is still found in elementary music instruments such as the type used by the Orff method. The four-row xylophone was popular in Europe during the 19th century and lasted well into the early 20th century. Xylophones are usually manufactured with resonators and overlapping bars, but when first manufactured in the United States, they were made without resonators and had level-mounted rows of bars. Fr. xylophone; Ger. Xylophon, Holz- und Strohinstrumente; It. silofono; Sp. xilófon. xylophone à cassette-résonance (Fr.). A xylophone mounted in a trough for resonance. See trough xylophone. xylophone à clavier (Fr.). See keyed xylophone. xylophone basse (Fr.). See bass xylophone. xylophone mallets. Xylophone mallets, at first called hammers or beaters, are constructed with a long shaft (handle) and a hard oval or spherical ball, the head, attached on one end. The four-row xylophone uses spoon-shaped beaters, and during the 19th and early 20th centuries, some “hammers” had a mallet head shaped similarly to a small hammer, often having one side hard and one side soft. Early catalogs show a wide variety of mallet types, often with specific descriptive terms regarding the shape and materials of construction, such as spoon shape, rosewood, Ivorite (large heads), ebonite (small heads) on cane handles, and vulcanized rubber heads on Malacca cane handles.
Xylophoneschlegel (Ger.). See xylophone mallets. xylophono. See xylophone. xylorimba. A keyboard percussion instrument having the combined range of a marimba and xylophone. These were manufactured during the 1920s and 1930s before harmonic tuning was perfected and are found in the music of Olivier Messiaen.
Xyloschlegel (Ger.). Abbreviation for xylophone mallet. Xylosistron (Ger.). Invented in 1807 by J. A. Uthe, this friction instrument consists of wooden bars sounded by rosined gloves.
Y ya-grin. Burmese gong, a pitched instrument with long sustain. yak bells. Burmese bells made of bronze with a wooden clapper. When sounded, each bell produces an additional tone sounding a minor third below the primary tone. Yamaha Corporation. Established in Japan (1887), Yamaha is a leading manufacturer of drums and percussion instruments. It continues to manufacture Deagan brand chimes and glockenspiels (orchestra bells), and is known for its high-quality drums (such as the Recording Custom series and marching drums), electronic drum sets and MTS Multi-Timbre Snare. Yamaha keyboard percussion instruments and timpani are preferred by leading professionals throughout the world as well. See marching percussion and electronic percussion. yarn mallets. Mallets having a yarn-wrapped head. See marimba mallets. ying-ku. See Chinese tom. yuka. Afro-Cuban, single-headed drum similar to a conga and made in three sizes. yunque (Sp.). See anvil.
Z zabumba (Br.). (1) Snare drum made of wood with goat skin heads. (2) Brazilian bombo. zambomba (Sp.). A large friction drum played with two hands, similar to a rommel pot and made of clay. zambumba (Sp.). See zabumba (1). zanza. See kalimba. zapotecano. A buzz marimba from Guatemala and Mexico. It is entirely handmade of wood, often ornately decorated, and features unique wooden, box resonators that come to a point at the end. Built into the resonators are the tela, a thin piece of pig skin attached with beeswax. The tela create the buzzing sound known as the charleo. zarb (Arab.). A darabukka from Iran. Zarge (Ger.). See drum shell. Zeigefinger (Ger.). Forefinger. See finger roll. Zelon bar. Trade name of Adams for a synthetic keyboard percussion bar made of fiberglass and plastic. Zendrum. An electronic MIDI controller worn like a guitar and having 24 velocity-sensitive buttons that can be programmed to trigger any sounds, including percussion. It can also be mounted flat and played much like a drum set or multiple-percussion instrument. zichirei. Japanese rattle made of wood with brass pellet bells attached. Zickos. U.S. drum company founded by Bill Zickos and located in Kansas City, Missouri. It was known for manufacturing acrylic, transparent drums during the 1970s. The company was briefly revived during the first two decades of
the 21st century. Ziehpfeife (Ger.). See slide whistle. ziemlich hart (Ger.). Medium hard. ziemlich weich (Ger.). Medium soft. zilafono (It.). See xylophone. Zildjian. Cymbal manufacturing company founded in 1623 by Avedis Zildjian I, an Armenian living in Constantinople. Zildjian, which means “son of a cymbal maker,” has been a family-owned business with the secret formula passed down from father to son for each generation until the current generation, when the company passed to a daughter, Craigie Zildjian, in 1999. The company, which moved to the United States and was incorporated in 1929, is located in Norwell, Massachusetts, manufacturing cymbals and other brass- or cymbal-related percussion instruments and products, such as gongs, crotales, zil-bels, metal castanets, drum sticks, and mallets. See Sabian. Zildjian, Armand (Feb 18, 1921–Dec 26, 2002). Elected to the Percussive Arts Society’s Hall of Fame in 1994 in the categories of industry and inventions, Armand Zildjian, son of Avedis, is best known as the owner of the Zildjian company after the death of Avedis and the departure of his brother, Robert, from the company. See PAS Hall of Fame. For a full biography, visit www.pas.org. Zildjian, Avedis (May 6, 1889–Feb 8, 1979). Elected to the Percussive Arts Society’s Hall of Fame in 1979 in the categories of industry and inventions, Avedis Zildjian is best known as the founder of the U.S. branch of the Zildjian company. See PAS Hall of Fame. For a full biography, visit www.pas.org. Zildjian, Robert (Jul 14, 1923–Mar 28, 2013). Elected to the Percussive Arts Society’s Hall of Fame in 2000 in the categories of industry and inventions, Robert Zildjian is best known for his work with the Zildjian company until he departed to found his own company, Sabian, which he developed into a worldwide cymbal business. See PAS Hall of Fame. For a full biography, visit www.pas.org.
zilofono (It.). See xylophone. zils (Tur.). Finger cymbals that are played with two in each hand, mounted to the fingers and thumb, and struck together. They are used in Islamic music. Zimbel (Ger.). See cymbal. Zimbeln (plural of Zimbel) (Ger.). See cymbals, antique cymbals, and crotales. zinger cymbal. Small cymbal mounted to the rim of the bass drum on a drum set, which is struck by the cymbal striker on a bass drum beater. zischend (Ger.). To hiss or sizzle. A technique where one of two hand cymbals scrapes its edge across the inside of the other cymbal. It also is performed by rapidly scraping a suspended cymbal with any type of metal striker, beater, or coin. zither. A fretted, tuned chordophone mounted over or in a resonating chamber. It is usually plucked, strummed, or bowed. Zoom Swivel Carrier. A marching carrier whereby the drum is mounted on a single pivot post that allows the drum to rotate or spin 360 degrees. Used on Flat Jacks drums during the 1960s and 1970s. See Flat Jacks. zu 2 (Ger.). With two. Most often used to designate a pair of crash cymbals or two players. See à 2. zu 2 oder 3 (Ger.). With two or three. zu zu. Japanese pellet bell rattle. The rattle is small, used in folk dances, and constructed similar to a sistrum. zumbador (Sp.). See bull roarer. zumbumba (Sp.). See lion’s roar. zurriago (Sp.). See whip and slapstick. zurückstimmen (Ger.). To retune.
zusammenschlagen (Ger.). Strike together (as in a pair of crash cymbals). zuzá (Por.). See chocalho. zvonsky (Cz.). See glockenspiel. Zweifacher Vorschlag (Ger.). Three-stroke ornament (e.g., single drag). Zweifelltrommel (Ger.). See double-headed drum. Zweikopfigeschlägel (Ger.). See double-ended mallet. Zylindertrommel (Ger.). See cylindrical drum. Zymbal (Ger.). Small cymbal. Zymbel (Ger.). See cymbal.
Appendix A Philosophies and Approaches to Teaching Percussion James A. Strain
Private lessons must be a working relationship with two-way communication between teacher and student. A teacher should attempt to aid students in whatever way possible, always recognizing each student’s individuality. This requires the teacher to use a multitude of approaches to teaching every aspect of percussion with dozens of analogies and explanations for each topic encountered. A teacher should be flexible and observant enough to recognize what direction a student desires to go and humble (honest) enough to admit when she is unable to assist a student with these goals. A teacher must also be persuasive in order to mold a student into the right frame of mind, so that the student has proper goal/achievement desires in focus. The student should be made to understand why he is taking lessons, what any specific teacher is able to help him with, and that the teacher is not a magic cureall for what ails him. The student should understand that what results after months or years of private lessons is all his own achievement, not the teacher’s. The overall student/teacher relationship should be understood by both as merely an hour (half-hour) a week spent discussing and/or sounding out ideas related to what the student has prepared, or what the teacher is presenting. A mature student should weigh many factors when selecting a teacher. What does the student expect to gain from study with this person? Does she admire this person’s performance ability? If so, then the student should commit to
learning how this teacher performs, and not rely on this person to show how someone else does it. If a student wants to know how someone else does it, he should study with someone else. What type of personality does this person have? Will the student be able to communicate honestly and/or question the teacher, and how will the teacher react to this? If there is any dissension or disagreement between the student and teacher, will this hinder or aid the learning process? One is sometimes put in a situation where disagreement is a viable catalyst for learning. Many teachers are excellent sounding boards for new ideas or approaches. The student should discuss his ideas, and present his prepared material with enthusiasm and respect and weigh whatever might be brought out on any aspect of his presentation. Only when absorbed and understood may the student decide to reject or retain the advice or criticism, and still gain from the experience. A closed mind (the student’s or the teacher’s) will seldom cause a working relationship to have productive results. Many teachers learn valuable lessons or approaches from the most unlikely student. Likewise, something is learned from even bad teachers—if it be only to recognize how not to do it when the student assumes the role of teacher! The correct way and approach to practice should be in-grained as early as possible, allowing the teacher the ability to guide a week’s progress in a student with only minutes spent together. Practice should be consistent, second nature, and most of all—productive. Daily time schedules work for some, hourly or smaller work for others. Practice is hard work. It is often tedious and results are not always immediately apparent. Young students should use parental guidance to supervise their practice time, whereas serious older students develop their own practice habits. One topic (piece) should be concentrated on at a time. Little is accomplished if a student’s mind is on other items or multiple topics. Practice aids should be used as much as possible. A room full of instruments with no radio, television set, telephone, windows, or clock is a great mood setter for practice. When preparing a work for performance, many approaches should be considered. All difficult passages should be practiced separately, then work forward and backward from these spots should occur. The beginning and end of a work should be rehearsed well enough so as to become second nature—a student should never miss a note in these spots. Pieces should be rehearsed in their entirety with a performance frame of mind in use. Don’t stop for minor or major errors. Learn to keep calm. Nerves should be controlled with practice. A piece might be dissected when it contains mallet changes, multiple instruments, or pedaling. Single mallets or hands might be practiced separately. Know all parts thoroughly. Color-coding any of the above is sometimes helpful in the early stages of learning a work. Often, a complete analysis—away from the instrument
—provides a wealth of knowledge and understanding of a work (especially one of length). All percussionists must make career decisions concerning the exact area of percussion they will consider their forte. Few percussionists are experts and daily perform in all mediums of this vast field. Bearing this in mind, a teacher must prepare each student, as early as possible, for this decision. A teacher must be somewhat of a counselor and use discretion in her approach to teaching a student or guiding a student in career choices. By exposing a student to broad areas of percussion, and music, the teacher is giving a student the necessary information and criteria to make the right decision in the correct perspective. Teachers should be cautioned against laughing at or discouraging young students when they mention their own high goals. One never knows when a student just might reach those goals. And conversely, a teacher should always be prepared to set older students straight with a realistic approach to a potential job or future. Student and teacher should discuss short- and long-range plans as an aid to the course of study and preparation for the student’s own choice of career and educational goals. Method books are essential in planning daily to weekly practice and invaluable as a teaching aid. A teacher should be familiar with all books used in lessons and not use one simply because the student already owns it. Books that cover a wide area of difficulty and will be of use to a student in future years are preferable to books that serve only a quick one-time subject. Familiarity with books that are focused on specific areas is essential and should be used when that topic is encountered (e.g., measured roll studies, cymbal crashes). These brief books should be owned by the teacher or studio/school, thereby saving unnecessary expense for the student. Books that cover a large area give students an idea of how they are progressing and a long-range view of where they have to go. Along with method books goes a familiarity with periodicals, reference books, and other published items dealing directly with various aspects of percussion. A thorough knowledge of these items will prove invaluable to both student and teacher. Students must be acquainted with the numerous brands of instruments available to them and coached on when it is necessary to purchase one, which ones to purchase, which ones to avoid, which ones are of best quality, which ones are of professional quality, which ones work in which situations and why, and the best place to purchase a specific instrument. As students purchase or use instruments, a teacher must instill in his students a sense of pride in caring for their instruments. Students should know what makes every part of an instrument work, understand what is or is not harmful to an instrument, be taught
confidence in repairing a broken or not-working instrument, learn to tune all types of drums and heads, learn to construct necessary instruments, be reprimanded for misuse of an instrument, comprehend the various stands and how they support their instruments, be instructed on where to find replacement parts and hard-to-find instruments, and have command of emergency replacement or repair procedures. A teacher should make an effort to acquaint all students with the numerous brands of sticks and mallets and instruct them in the various ways of using these implements. Mallet construction is an important part of this process, and all students should be encouraged to experiment. A teacher should aid students in finding materials and should advise them which materials to use. Mallet/stick choice often plays an important part in the presentation and overall sound of a piece, but too often, a student is allowed to go for years without ever being required to purchase more than one or two pairs of mallets/sticks for each instrument. A mature approach to tone is impossible without numerous mallets/sticks to compare to each other, and many techniques are often dependent on the mallet/stick used in the technique. Listening aids should be employed, and all students should be encouraged to pursue this activity with a passion. This takes many shapes; the main divisions are live and recorded listening aids. Beginning with close listening to the teacher’s playing in lessons, rehearsals, or performances, the student should then branch out into all types of recitals and concerts, never neglecting the sound of their peers’ practice in adjoining rooms or in rehearsal situations. An essential form of recorded listening aids is the student’s recording of himself, both in practice and performance. This is usually a most enlightening experience for anyone. In today’s digital, high-tech world, all available audio and video sources should be used, including sources prepared as teaching aids themselves. One often learns both correct and incorrect methods from media prepared in such a fashion. Recordings of the student’s practice and performances, when available, are highly useful, as seeing oneself perform is sometimes quite an eye-opening experience. Solos provide a piece of music that a student must prepare in its entirety. This accomplishes many things and is most important for creating a sense of playing a “musical” instrument as opposed to “beating on drums.” Solos should be introduced from the very beginning of study and, as time goes by, take a larger portion of lesson and practice time until ultimately all of a student’s efforts are directed toward performing. All of the basic techniques and foundations learned then come to fruition as a musical process and piece as a whole. Solos should be approached from various previously mentioned practice
ideas; along with these ideas, a teacher should introduce concepts that deal directly with the act of performing. These concepts center on stage presence, program selection, and audience feedback; they include such items as how to bow, use of lighting, suiting a program to a specific audience (i.e., children, adults, community), stage setup, practicing transitioning directly from one piece (mood) to another piece (mood) with little time between, and viewing a performance as a whole entity in itself, not as all the minute building blocks of each piece strung into an hour-long performance. This overall view is an important part of producing a true musician. A teacher should never neglect the use of excerpts as pedagogical material. Many percussionists’ lives are centered on orchestral performance, and all should be familiar with the music in this genre. Most technical aspects of the major percussion instruments are encountered in one or more of the standard excerpts, and as these technical problems are encroached, the proper excerpt should be introduced. There is no better substitute for teaching patience and concentration while playing as consistent and insistent as possible than the snare drum excerpt from Ravel’s Bolero. Many accessory percussion instruments contain little, if any, literature for them other than orchestral excerpts, and an instrument such as solo timpani is performed almost exclusively in an orchestra when on a professional level. Often, accessory instruments are never learned properly until the time that a student must perform in an orchestral program. Exposure to the numerous terms and various languages that terms appear in must begin as early as possible. It is often helpful to teach young students that the terms are in a foreign language and encourage them to be proud of learning something that is such. Once students grasp this approach, they search for more foreign terms and view them as novel and exotic, making further encouragement unnecessary. Students should always be certain of the exact meaning of a term and never simply guess or approximate what it means. One incorrect translation can mean the difference between a good or bad interpretation, or it may change the entire approach to many technical aspects (i.e., roll speed on a snare drum) of a piece of music. A conceptual approach to percussion teaching is many times what makes or breaks a teacher. A teacher’s ideas toward percussion performance and education —or the mere existence of such—is sometimes the only necessary element to foster good talent. The prime concept to keep in mind is that of music. A percussionist should be trained as a musician who performs on percussion instruments, not as a player of percussion instruments attempting to play music. This approach enables a student to grasp musical ideas and theories and apply them to percussion with sound judgment and thorough knowledge, thereby
avoiding aimless banging with unmusical results. Faultless concepts of time must be stressed, but musical interpretation of phrasing and melodic motion should never be forgotten. Relaxation and mental control over the muscles and mallets should be thought out, as well as how the mental concepts of motion, sound, and visual perception affect the various aspects of performing. If the mind does not know what is to happen, how will the body do it correctly? Confidence is imperative. As all parts of percussion are individual—that is, seldom doubled—each student must learn to stand on her own and commit herself to playing her part with accuracy and determination. Students must also be able to count rests, so as to perform their confident part at the right place in time. The production of music is a very personal action, and one must learn to cope with how one’s personality or opinion toward performing influences the end product. A performer must become one with his instruments and music, as any live performance cannot be void of either, and will appear quite senseless if any type of barrier exists between the performer and the sound production. One’s own philosophies and approaches to music and performing ultimately control all aspects of any performance and should be thoroughly thought out and preconceived for each individual effort to create music, be it in a practice room, recital hall, recording studio, auditorium, or club, as this is the true way to realize any art such as percussion.
Appendix B A Practical Guide to University and College Percussion Auditions James A. Strain First and foremost, a university or college audition seeks to establish how well your skills and personality agree with the desired requirements established by the school and the professor. The professor (or audition committee) is truly interested in you succeeding and doing well at your audition. They are assessing your fundamental knowledge of music and your performance background with the goal of establishing your ability to improve and learn if you are accepted into their program of study.
THINGS TO CONSIDER AND QUESTIONS TO ASK YOURSELF Before the Audition 1. What type of school is best for me? Many factors must be considered when choosing a school, but the primary things you must consider as a percussionist are with whom you will study, the opportunities you will be afforded for performing (both at the university and in the community), and the types of degrees offered by the school. All schools accredited by the National Association of Schools of Music should provide a quality academic education, and your audition will provide you the ability to assess how well a specific school and teacher will meet your needs. 2. What kind of time line should I use when applying to a university?
Your preparation for the college admission process should begin well over a year before you graduate from high school. Ask the admissions office at all schools you might consider attending, as well as your high school guidance counselor, what the requirements are for attending specific schools, including the need for SAT or ACT exams while still in high school. Universities have specific application deadlines and audition dates that have to be met in order to be admitted and audition for the Music Department or Music School. Don’t miss any of these published deadlines! 3. Do I have to major in music to get a scholarship or participate in marching band, concert band, or orchestra? This answer varies, depending on the institution. After browsing the website for posted information at any school you are interested in attending, the best way to learn this information is to e-mail or call the secretary’s office for the dean or head of the Music School. The secretary will either know the information or can direct you to who has it. 4. How do I find information regarding percussion auditions for a specific school? This information is usually posted on the School or Percussion Department’s website. If not, then a direct e-mail to the professor of percussion and the admissions office will usually provide you with the information in a timely manner. 5. Is there really a difference between music programs at different types of institutions? Yes! However, these differences generally have to do with size of the departments, number and types of ensembles, teacher-to-student ratio, available facilities for practice and study, and the type of city or environment where each one is situated. The availability of specific degrees, such as a jazz major or an orchestral focus versus a music education focus can also play a role in your decision. Any of these factors could be significant based on your interests and career goals. 6. Should I audition at more than one school? It’s always best to have options when making a major life decision. However, this should not mean that you plan to fail. Instead, plan to succeed! Select at
least three schools and put them in a priority order. Then, as you audition at each one, both the positive and negative things for each institution will become obvious to you for your personal situation. Hopefully, each school will want you as a student, but certain personal factors will convince you of your best choice.
Preparing for the Audition 1. What kind of time line should I use when preparing my audition? You should begin preparation of your music as soon as you have decided at which schools you will audition, based on the audition requirements for those schools. 2. What music or literature should I prepare? Prepare music that demonstrates your highest level of musicianship. Be cautious not to perform several pieces at the top of your technical ability. Balance your literature with things that demonstrate a variety of skills and styles, and choose music you are comfortable performing when in a stressful situation. Any music that is appropriate for your solo and ensemble festival is likely to be excellent for a university audition. Given the time constraints of an audition, several shorter pieces are generally better than one long piece. Be prepared to be stopped prior to finishing any piece that you are performing. This does not reflect a dislike of the piece or your performance. It just means that the committee has been able to assess how well you have prepared that specific piece, having heard that portion of it. 3. What are the best ways to prepare for the audition? My experience leads me to believe that, once the music has been prepared, the best way to prepare for any audition is to play your audition in front of as many people as possible. That is, prepare for an audition by practicing auditioning. Making routing audio and video recordings of complete auditions is especially useful. 4. Where do I find additional information or someone to assist me in preparing my audition? Ask your high school band or orchestra director to suggest a percussion teacher in your area. If they are unaware of any, then contact the closest
university or college and see if you might be able to take lessons from the professor, or if the professor might suggest a current university percussion student who would assist you.
The In-Person Audition 1. When should I arrive at the school for the audition? If you are traveling out of town to an audition, it is usually best to arrive the day before, if possible. This allows you to get a good night’s sleep and to investigate the campus, music building, and community, and to see where you will need to go for your audition well ahead of time. 2. How should I dress for the audition? Wear nice clothes, but be certain that they are comfortable for your performance. You want to make an excellent impression on everyone that you meet during your visit. 3. What should I say (or not say) during the audition? Have a polite greeting prepared, then speak when spoken to. The professor or committee will have a series of questions for you that you should answer as directly as possible. If you have specific questions about any instruments— such as how a timpani pedal works or the range of a specific marimba—the time to ask these is before you begin playing. At some point, the professor or committee will ask if you have any questions for them. That is the time to ask them any prepared questions you have regarding the school as well as any that have arisen since you began your audition. 4. What instruments should I play? Play only those instruments you feel competent with, as well as what might be required on the school’s audition specifications. Choose instruments that best demonstrate your musical abilities and performance experience. Few professors want to hear your first attempt at a timpani (or other instrument) solo if you have seldom performed on timpani. 5. Should I bring any of my own instruments to the audition? Small instruments, such as a snare drum, or your own cymbals for drum set, are appropriate to bring. All large instruments are usually provided for
auditions, and students are expected to perform on them. Sometimes there are instruments available for a student to warm up, but be prepared to audition without warm-up instruments. 6. Should I bring multiple copies of the music I’m playing to the audition? If this is not specified as a requirement for the audition, then it is not necessary. However, I would always suggest that you have an extra copy of all music, bound in a notebook, and available to the professor or the committee. Have the originals with you for your use, if needed. 7. What sticks and mallets should I bring with me? Bring only those needed for your audition, as well as ones you think could be of use if you are asked to play or sight-read on an instrument you are not performing as your choice of instrument. 8. How much time will the audition take? Depending on the school, an audition could be as short as 10 minutes, or as long as 30 minutes. This is often specified in the audition requirements, but if not, you are likely only limited by the time the next person is scheduled to audition. 9. What order should I play my music when I audition? Be prepared to perform the music in the order you prefer. Most committees ask what you would like to play first, so expect this and be in charge of your own performance order if given that option. In addition, also prepare to perform in any order that the professor or committee might request, and don’t be concerned if you are not asked to perform all the music you have prepared. 10. Will I have to sight-read at my audition, and if so, on what instrument(s)? Many auditions have a sight-reading component on either a keyboard instrument or snare drum, or both. If so, this is usually specified in the audition requirements. If not specified, you should still come prepared to be asked to do this. 11. Will I have to know scales and rudiments for the audition, and if so, how should I play them?
It’s best if you know both of these. Prepare your major scales in at least one octave showing that you understand them. Any routine rhythmic pattern is usually acceptable, and is sometimes specified in the audition requirements. Rudiments are best performed open-closed-open, or slow-fast-slow. 12. Do I have to know how to play with four mallets? Although it is good to know how, the answer is no. If you don’t have the ability to play with four mallets, or even with two, your abilities in other areas might outweigh the lack of keyboard skills. This is something you will learn during your university studies. If you do have experience performing four-mallet literature, I would suggest that you prepare a solo that demonstrates this skill. 13. How should I tune the timpani during my audition? Quickly and accurately! Bring a tuning fork or acquire a pitch from a tuner (or cell phone app) and then hum or quietly strike the drum (only once) and quickly glissando directly up to the note, locking on pitch. If possible, obtain your next pitches from your first note (the one tuned on the drum), by humming intervals from that note. 14. What should I do if I am asked if I play drum set? If you play drum set, then demonstrate several styles with a steady beat and a variety of tempos. If you don’t play drum set, or fully understand standard styles, then I would say refrain from playing with a polite “I don’t play, but I’m looking forward to learning this next year with you!” 15. What should I say if they ask me a question I don’t know the answer to? Say that you don’t know that information but that you would be glad to learn about the topic. Then ask them if they have suggestions for where you should look first.
After the Audition 1. When will I find out the results of my audition? This is an excellent question at the end of the audition if the professor or committee has not already told you the answer. Most results are mailed either the week after an audition, or held until after all scheduled auditions have occurred and the results mailed to all applicants near the end of March.
2. What other factors might affect whether I am admitted to the college or university? Admittance to a university or college is not usually based only on your playing ability. There is also an academic assessment, college placement exams, personal essays, and the amount of space available in the professor’s studio. Many factors are weighed in making the final decisions regarding a student’s acceptance into a program of study, as well as scholarship offers. 3. Are there other options to be admitted, or get a scholarship, besides the live audition? Many schools also accept audio and/or video auditions. These can be sent directly to the school in a variety of types of media; the school may have an upload site for this purpose, or the school may ask you to upload your audition to a website such as YouTube (on a private channel). 4. What should I do if I don’t get into the college or university of my choice? Always have a plan B. If you are not accepted to the school of your first choice, it would be appropriate to contact the professor, expressing your understanding of the situation and asking if they have any suggestions for improving your audition, perhaps for next year, or if they might suggest another place you should consider attending. In addition, it is always best to audition at more than one school, and hopefully your second choice resulted in a successful entrance audition. If not, then follow the advice of your private teacher or band director in how to better prepare your audition; if you didn’t have a private teacher before this audition, then I would strongly suggest that you use one for any future auditions.
Theory Many schools include a music theory skills exam at the audition. This might include • key signatures for all major keys; • simple and compound meters (time signatures); • pitches for all major scales; • intervals (the distance between two notes);
• how to spell the four types of triads (three-note chords); • reading notes in treble and bass clefs; and • ear training or dictation of intervals, chord types, and a melody.
SAMPLE AUDITION REQUIREMENTS An Example of General Undergraduate Audition Requirements • Three solos or studies (one each on snare drum, mallets, and timpani) selected to display level of advancement. • Sight-reading.
An Example of Specific Undergraduate Audition Requirements Requirements for B.M. Degrees in Performance and Performance/Music Education Mallets (Eight Minutes): Marimba or Vibes Marimba • Two-mallet étude, comparable to or chosen from the following: Modern School for Marimba by Morris Gold-enberg (“39 Études” section); Tone-Row Exercises for Marimba by Howard Zwickler; or Style Studies by John Bergamo. • Four-mallet solo (optional, but recommended). • Scales and arpeggios in all major and minor keys (at least two octaves). Vibes • Étude, chosen from Vibraphone Technique by David Friedman (Études 1–10). • Four-mallet solo. Scales and arpeggios in all major and minor keys (at least two octaves).
Timpani (Eight Minutes) • Étude, comparable to or chosen from the following: Modern Method for Timpani by Saul Goodman (pp. 46–60); Etuden für Timpani by Richard Hochrainer (nos. 10–25); Timpani Method by Friese/Lepak (Section 3, nos. 5– 15); or a solo using four drums. • Tuning and intonation suggested study guide: Timpani Method by Friese/Lepak (Section 3, pp. 35–43).
Snare Drum (Eight Minutes) • Solo (concert style), comparable to or chosen from the following: Modern School for Snare Drum by Morris Goldenberg (pp. 44–51); Portraits in Rhythm by Anthony Cirone; 20th-Century Orchestral Snare Drum Studies by Thomas McMillan. • Solo (rudimental style), comparable to or chosen from the following: Modern Rudimental Swing Solos by Charles Wilcoxon; 14 Modern Contest Solos by John S. Pratt.
Drum Set (Six Minutes; Optional, but Recommended) • Demonstration of knowledge of various contemporary styles, including jazz (swing), rock, and various Latin beats. • The audition normally is 30 minutes (drum set included). Substitutions for any of the above may be made in advance.
An Example of a Comprehensive Audition on Drum Set • Swing (moderate and up-tempo feels) • Rock and/or Funk • Ballad (demonstrating brush techniques) • Latin or World (Bossa Nova, Samba, Mambo, Afro-Cuban [Nañigo], Reggae, etc.) • Trade four- or eight-bar solos (typically in a swing style) • Chart Reading: both lead sheets and rhythm section charts; doubling the
figures or setting up the band with fills. • Playing with piano and bass in a trio (sometimes this is possible).
SUGGESTED RESOURCES TO AID AUDITIONS The journal Percussive Notes, vol. 37, no. 4, published in August 1999, contains the following articles, each of which provides significant information related to specific types of auditions by leading experts in their respective fields. Reprints and online access are available from the Percussive Arts Society, www.pas.org. At the Orchestral Audition by Michael Rosen At the Timpani Audition by Michael Rosen Auditioning for the Minnesota Orchestra by Peter Kogan Auditions: The Mind Game by Larry D. Snider Buster Bailey on Interpretation and the Audition by Jon Wacker College Auditions: A Student’s Perspective by Adam Sliwinski From Start to Finish: Learning Marimba Literature by Erick Saoud The Goal of Symphonic Percussion Auditions by Sam Denov Non-orchestral Auditions by John R. Beck Percussion Auditions by Michael Rosen Percussive Notes 37, no. 4 (August 1999) Preparing for a Drumset Audition by Ed Soph The Roadblock for Auditions: Stage Fright by Dr. Darin Workman Symphony Percussion Audition Repertoire by Richard Weiner Tips on Auditioning for a DCI Pit by Jim Ancona
Appendix C A Guide to Professional Orchestral Percussion Auditions Regardless of whether you are auditioning for a small community orchestra or a major symphony orchestra, a career where you perform and are paid for doing what you love is one of life’s most rewarding experiences. Though each audition has many variables, there are many common elements to an audition on percussion or timpani. This guide is intended to assist and encourage younger players in their preparation and understanding on how to obtain a position in this very rewarding profession. 1. An opening is announced. Due to the departure of someone holding a current position, the establishment of a new position, or the need for extra players, orchestras will announce a vacancy, specifying the exact nature of the position. The ways to find out about vacancies are through word of mouth (either in person or via social media), official announcements on an orchestra’s website, union publications (both hard copy and online), from teacher postings, and from university placement services. 2. Request information from the orchestra. The vacancy announcement will have a contact person, the date for the audition(s), starting date for the position, and often the pay scale or salary. Follow the directions on the announcement in order to obtain a complete application form, a list of repertoire for the audition, and the orchestra’s information on their exact audition process. This may require an actual written letter, e-mail, or online request process. 3. Review and complete the application materials. Carefully read all materials sent to you from the orchestra and meticulously complete them. Expect to either attach a resume showing your educational and performing experiences or to complete a form asking for this information. The names and contact information for several references are often required. Be sure to inform
anyone you list that you have done so, after you have asked their permission to use them as a reference. 4. Return the application materials. Upon returning the application materials, the orchestra will either immediately schedule your audition date and time, or will request further information from you regarding your audition. Often, when a time is scheduled, there is a monetary deposit required, which is returned to the applicant when they arrive at the audition. If you are not immediately scheduled for an audition, it is likely that you might be required to submit a taped, preliminary audition. 5. Assemble the “excerpt” list. Major orchestras often send copyrighted music, along with their list of required repertoire that the audition committee would like to hear at the audition. For a taped, preliminary audition there are fewer excerpts. The list, which may list an entire piece, often has very specific measures, sections, or movements. Once the list is known, organization of the music is paramount in order to efficiently learn the music. Organize the list by instrument, then alphabetically by composer, just as the list likely appears, in bound notebooks for either the entire list, or one for each type of instrument. Plastic sleeves assist in keeping the copies over an extended period of time as you continue to audition for several years. 6. Develop a practice routine. Set a goal for mastering each excerpt. This includes listening to the excerpt in context of the entire piece of music on as many possible recordings that are available. Tempos often vary greatly on any given excerpt. Use a metronome as a study tool to establish which versions are at what tempi. If possible, have a space with all instruments set up and ready to go, so that your time is spent practicing, and not repeatedly setting up instruments. 7. Suggested practice procedures. Practice with a metronome. Practice with recordings of orchestras performing the excerpt. Create a log of timings for each recording used for easy access each time that excerpt is practiced. Record your practice sessions (both video and audio). Develop a method of critiquing your practice recordings. Once an excerpt is learned with your interpretation, practice it at varying tempos and dynamics, as well as with different types of mallets or sticks. Audition committees routinely ask a candidate to play something softer, louder, faster, or slower to hear a different interpretation. Develop a routine for playing each excerpt only once, and then
going right to the next one. Practice them in different orders than on the list. Arrange “mock” auditions where you play for others, as if it were a real audition. The actual audition process is much harder than playing any given excerpt. 8. Make travel plans well ahead of time. Don’t wait until the last minute to arrange travel and accommodations, or to thoroughly plan what instruments (usually only small ones), sticks and mallets, clothes, and luggage you must take. Arrive early at all auditions, planning extra time to acquaint yourself with the building, practice instruments, last-minute changes on any schedules, meal times, and availability of local transportation, and to get a good night’s rest the day before the audition. 9. The live audition. Follow all directions from the personnel manager (or other appointed individuals) from the time you arrive until you are finished with your audition. There will be some type of warm-up room for all candidates, and often a second location, or a “staging” location, for candidates immediately before their time to move to the actual audition on stage. Often there are few, if any, instruments available for warm-up or practice, except in the staging room. The exact instruments available, by brand and model names, for both warm-up and the audition are often clearly explained in the audition packet sent to each applicant. Expect to be told soon (but not necessarily immediately) after your audition whether or not you have passed from the preliminary, or first round, of auditions to the next round. The number of rounds prior to the final selection of a winner varies depending on the decisions made by each committee at the time of the auditions.
Appendix D Standard Audition Repertoire for Orchestral Percussion
MARIMBA Bach: one movement from the Suites for Violin or Cello is often specified. Contemporary work (four mallets) of candidate’s choice.
SNARE DRUM Delecluse: Douze études (étude #9 and others) Delecluse: Keiskleiriana no. 1 (étude #7 and others) Bartók: Concerto for Orchestra, second movement (first and last phrases of movement only) Bernstein: “Symphonic Dances” from West Side Story (multi-drum) Britten: Peter Grimes, act 3, scene 1 (rehearsal, measures 36 to two measures after rehearsal, measure 38) Debussy: “Fêtes” from Nocturnes Nielsen: Clarinet Concerto (complete) Prokofiev: Lt. Kije Suite, Birth of Kije, no. 1 Prokofiev: Peter and the Wolf Prokofiev: Symphony no. 5, second movement Ravel: Alborada del gracioso Ravel: Bolero
Rimsky-Korsakov: Capriccio espagnol Rimsky-Korsakov: Scheherazade Rossini: “Overture” from La gazza ladra Schuman: New England Triptych, “Chester” movement Schuman: On Freedom’s Ground Schuman: Symphony no. 3, “Toccata” movement Shostakovich: Symphony no. 10, second movement Shostakovich: Symphony no. 11, fourth movement Suppé: “Overture” from Pique Dame
XYLOPHONE Barber: Medea’s Meditation and Dance of Vengeance Bartók: Music for Strings, Percussion and Celesta Berg: Wozzeck, act 2, scene 4 (measures 716–23) Copland: Appalachian Spring Gershwin: An American in Paris Gershwin: Piano Concerto in F Gershwin: Porgy and Bess Harbison: Symphony no. 3, third movement (measures 219–49) Kabelevsky: “Overture” from Colas Breugnon Kodály: Háry János Suite Kreisler/Green: Tambourin chinois Ligeti: Piano Concerto, third movement, letter L (enclosed) Messiaen: Oiseaux exotiques (Exotic Birds), nos. 6–7, 26–30 Ravel: Mother Goose Suite Rouse: Phaethon Schuman, William: Symphony no. 3 (measures 230–45, 385–96, half note = 96) Shostakovich: Cello Concerto no. 2, third movement (rehearsal, measures 100– 101) Shostakovich: Lady Macbeth of Mtsensk, act 3 (rehearsal, measures 379–84) Shostakovich: “Polka” from The Golden Age Stravinsky: Firebird (complete ballet) Stravinsky: Les noces Stravinsky: Petrouchka (1911 version)
ORCHESTRA BELLS (GLOCKENSPIEL) Debussy: La mer Dukas: The Sorcerer’s Apprentice Mozart: The Magic Flute (Goldenberg book) Ravel: Mother Goose Suite Respighi: Feste Romane, second movement (rehearsal, measures 18–20) Respighi: The Pines of Rome Strauss: Don Juan Stravinsky: Petrouchka (1911 version) Tchaikovsky: Waltz (op. 66a) from The Sleeping Beauty (suite)
VIBRAPHONE Bernstein: “Symphonic Dances” from West Side Story (measures 569–607, 620– 55) Schuller: “Little Blue Devil” from Seven Studies on Themes of Paul Klee no. 3, D–E Williams: Escapades, first movement (measures 49–65); third movement (measures 33–55)
CYMBALS Dvorak: Scherzo capriccioso Mozart: “Overture” from The Abduction from the Seraglio Mussorgsky: Night on Bald Mountain Rachmaninov: Piano Concerto no. 2 Sibelius: Finlandia Tchaikovsky: “Danse des mirlitons” from The Nutcracker Tchaikovsky: “Overture-Fantasy” from Romeo and Juliet Tchaikovsky: Symphony no. 4 Demonstrate selected crashes of various attacks and dynamics.
BASS DRUM
Berlioz: Symphonie fantastique Britten: Billy Budd, act 4, scene 4 (rehearsal, measures 20–22) Mahler: Symphony no. 3, opening Respighi: Feste Romane, “Circenses” movement (rehearsal 6) Stravinsky: “Danse de la terre” from The Rite of Spring Stravinsky: Petrouchka, bass drum/cymbal attachment section (1911 version) Tchaikovsky: Symphony no. 4
TAMBOURINE Berlioz: Roman Carnival Overture Bizet: Suite nos. 1 and 2 from Carmen Borodin: “Polovitsian Dances” from Prince Igor Britten: “Four Sea Interludes” from Peter Grimes Chabrier: España Dvořák: Carnival Overture Rimsky-Korsakov: Scheherazade Stravinsky: Petrouchka (1947 version, measures 201–6) Tchaikovsky: “Danse arabe,” “Trepak,” and “La mère Gigogne” from The Nutcracker
TRIANGLE Berlioz: Suite no. 2 from Carmen Bizet: Danse bohème Brahms: Symphony no. 4, third movement Dvořák: Symphony no. 9, New World Liszt: Piano Concerto no. 1 Rimsky-Korsakov: Scheherazade
Appendix E Standard Audition Repertoire for Timpani Adams: Dr. Atomic Symphony, “Trinity” movement Barber: Medea’s Dance Bartók: Concerto for Orchestra, fourth movement Bartók: Music for Strings, Percussion and Celesta Bartók: Violin Concerto no. 2, second movement Bayer: Pflichtstück op. 5 (étude) Beethoven: Symphony no. 1 Beethoven: Symphony no. 5 Beethoven: Symphony no. 8 (last movement) Beethoven: Symphony no. 9 Beethoven: Violin Concerto (opening only) Berlioz: Symphonie fantastique (performed with second player) Brahms: Symphony no. 1, fourth movement Brahms: Symphony no. 4, third movement Britten: The Young Person’s Guide to the Orchestra, variation M Copland: Appalachian Spring, nos. 65–67 Elgar: Enigma Variations, variation VII Hindemith: Symphonic Metamorphosis, second movement (complete) Janáček: Glagolitic Mass Mahler: Symphony no. 7, opening of last movement Martin: Concerto for 7 Winds, Timpani, and Percussion Mozart: Symphony no. 39, opening of first movement Reuter: Étude #3 Schuman: New England Triptych, I: measures 1–13 and 122–52 Shostakovich: Symphony no. 5 Shostakovich: Symphony no. 11, opening only Sibelius: Finlandia, D to I and M to end Strauss, R.: Burleske Strauss, R.: “Waltz” from act 3 of Der Rosenkavalier
Stravinsky: The Rite of Spring (last page only) Tchaikovsky: “Overture-Fantasy” from Romeo and Juliet Tchaikovsky: Symphony no. 4 Wagner: Funeral music from Die Walküre (sometimes with piano accompaniment)
Appendix F Percussion Equipment Standards by the NCPP
Appendix G Marimba Standards and Literature by the NCPP
Appendix H J. C. Deagan Company Keyboard Percussion Instruments This listing was compiled during the 1980s by long-time Deagan employee, Hal Trommer, as a part of his history of the J. C. Deagan Co. and freely distributed to all those interested in the rich history of John Calhoun Deagan and the companies that bore his name.
Appendix I Leedy Manufacturing Company Keyboard Percussion Instruments The following model names, numbers, ranges, and years of each instrument appearing in catalogs, courtesy of Rob Cook.
Appendix J Marking Percussion Parts Randall Eyles
Appendix K List of Drum Set Styles
2-Beat Show Groove Abakwa Acid Jazz Alternative Rock Beguine Bembe Big Band Blues Blues Rock Bo Didley Shuffle Bolero Bossa Nova Cajun Sound Calypso Cascara (Son, Rumba) Cha-Cha-Cha Chicago Shuffle Country Country Shuffle Delta Blues Disco Folk Rock Funk Guaguanco
Heavy Metal Hip-Hop Honky-Tonk Jazz Jazz Fusion Jazz Rock Jazz Waltz Mambo Memphis Blues Merengue Motown Rock Mozambique Nañigo Nashville Sound New Jack Swing (Hip-Hop Shuffle) New Orleans Jazz Paso Doble Progressive Rock Punk Rock Rap Reggae Rhythm and Blues (R&B) Rock (4/4, 12/8, eighth-note, sixteenth-note, half-time) Rock ’n’ Roll Rhumba Rumba Salsa Samba Baião Samba Batucada Shuffle (Blues, Swing, etc.) Ska Soca (Soul Calypso) Society Beat Son Songo Soul Street Funk Swing Swing Shuffle
Tango Texas Shuffle Urban Blues Viennese Waltz Waltz
Appendix L Notation for Drum Set Norman Weinberg
(Excerpted from Guide to Standardized Drumset Notation, copyright 1998 by Percussive Arts Society. Used by permission.)
LEGEND The legend (also called a “notation key” or simply “key”) is a graphic explanation of the notation system used by the composer or arranger. This guideline recommends the following concerning a legend: 1. All compositions and charts should include a legend. 2. The legend should be given before any actual music is indicated in the work. The legend may be presented during the introductory text in a method book, the first staff system in an improvisational-style chart, or above the music in an article included in a journal, or magazine. 3. The legend should include the staff positions for all instruments (written with their associated noteheads), all articulation signs (other than standard accents, staccato marks, etc.), all beater signs and all additional notational graphic symbols used in the music. 4. All symbols, staff positions, notehead alterations, sticking, beaters, etc., must be consistent throughout the entire publication or section of the publication.
5. Do not include any notation signs or symbols in the music that are not defined in the legend, other than the standard musical symbols of accents, staccato marks, etc. Do not define any notation signs or symbols in the legend that are not required in the music. 6. The only allowable addition to the music after the legend is given should be written text. Following are examples of typical legends, ranging from basic and simple to very detailed.
IMPROVISATIONAL NOTATION
Written Beats Composers and arrangers should always provide the drum set player with a simplified version of a stylistically correct time pattern at the style’s first appearance. If desired, the term “ad lib.” can be written above the basic beat pattern to indicate creative freedom. If all composers and arrangers provided this basic service for drummers, younger players would be able to sight-read a basic time pattern that was stylistically correct, while experienced players would be more creative, as the “ad lib.” indication clearly shows the composer’s intent. The musical examples below are only illustrative of this recommendation. They are by no means the only stylistically correct time patterns for a given style of music. It is, of course, the responsibility of the composer, arranger, editor, and publisher to include basic time styles that would complement the music.
Time Styles A precisely written beat pattern should be used whenever exact parts are desired or if the performer is to play certain rhythms exactly as written. In such cases, the composer or arranger may choose to add indications such as “As written,” “Bass drum as written,” “Hi-hat as written,” etc., for additional clarity. If these written indications are not added to the music, the performer should feel free to play (or not play) the notated passage. If the performer is free to improvise all parts, a series of one-bar repeats or slash measures can be used. It is assumed that composers and arrangers will
want to use both methods of time notation, depending on what is more clear and better suits their needs.
Time Pattern as Written
Time Pattern with Variation
Free Repeats
Free Slash
The multi-measure rest should never be used to indicate that a musician is to continue playing time. If space is at a premium and a series of individual measures with repeats or slashes is not possible or practical, one of the following time notation options may be used.
Time Option 1
Time Option 2
Fills and Solos It is recommended that the instruction “Solo” be used only when the performer
is featured for the specified length of time. Similar to the use of the term in orchestra parts, “Solo” indicates that no other instruments in the ensemble are playing, or that the part is to stand out from the remaining instruments in the ensemble.
Solo Section
The term “Fill” is much less specific, and should be used for all indications that are not solos. There are three common types of solos and fills—those that are precisely notated, those that are rhythmically precise without indicating the exact instrument, and those that are improvised.
Precisely Notated Fills or Solos Obviously, precise fills or solos should be notated exactly as the composer wishes them to sound. So there can be no question that the performer is to play the written notes, the instruction “as written” should be included above the fill or solo.
Appendix M Percussion Instruments Setup and Part Assignment Diagrams Two of the most challenging aspects of symphonic, orchestral, or percussion ensemble performance are the organization and setup of the instruments and assignment of the various parts to the available performers. The parts are assigned not only on a performer’s ability on that instrument, but also on the logistical movement from several instruments or “stations” where the instruments are assembled. Often, more than one player must share an instrument. Timpani is usually performed as a stand-alone part and often not included in setup diagrams. This appendix consists of several examples for instrument setups for actual pieces in the symphonic band, orchestra, percussion ensemble, and an auxiliary percussion étude, as well as a general diagram for the arrangement of instruments for a typical symphonic band. They show how the instruments are arranged, using pictograms, as well as how the parts are assigned and distributed to be performed by the available players. Additionally, some diagrams include a complete list of required instruments for a piece. The following examples should serve well as organizational examples for most types of ensembles.
TYPICAL PERCUSSION SETUP FOR CONCERT BAND West Side Story by Bernstein, arranged for band by Lavender Symphony no. 2 (third movement) by Maslanka Classical Concert 8 by Nashville Symphony Orchestra (Mozart, The Abduction from the Seraglio; Schwantner, Percussion Concerto; Holst, Planets) Classical 9 by NSO (Haydn, “Military” Symphony; Adams, Dr. Atomic Symphony) Tour Program 1 by NSO (Ives, Universe Symphony)
Tour Program 2 by NSO (Grainger, The Warriors; Riley, The Palmian Chord Ryddle; Rachmaninoff, Symphonic Dances; Sierra, Symphony no. 4) Classical 11 by NSO (Ellisor, Diaspora; Rachmaninoff, Piano Concerto no. 2) Percussion Ensemble Concert (two pieces) Auxiliary Percussion Étude (with music) by Steven Hemphill
Appendix N PAS 40 International Drum Rudiments
Appendix O Standard Ranges for Tuned Percussion Instruments
Middle C = C4, and optional or extended ranges are shown in parentheses. Some ranges for unique instruments are courtesy of Emil Richards, as well as Dan and Abby Savell of L.A. Percussion Rentals.
Further Reading
COMPREHENSIVE HISTORY AND PERFORMANCE Beck, John H., ed. Encyclopedia of Percussion 2nd ed. New York: Routledge, 2014. Blades, James. Percussion Instruments and Their History. 3rd ed. London: Faber & Faber, 1984. Dean, Matt. The Drum: A History. Lanham, MD: Scarecrow Press, 2012. Holland, James. Percussion. New York: Schirmer Books, 1978. ———. Practical Percussion: A Guide to the Instruments and Their Sources. 2nd ed. Lanham, MD: Scarecrow Press, 2005. Montagu, Jeremy. Timpani and Percussion. New Haven, CT; London: Yale University Press, 2002. Peinkofer, Karl, and Fritz Tannigel. Handbook of Percussion Instruments: Their Characteristics and Playing Techniques, with Illustrations and Musical Examples from the Literature. Translated by Kurt and Else Stone. London; New York: Schott, 1969. Peters, Gordon B. The Drummer: Man, a Treatise on Percussion. Wilmette,
IL: Kemper-Peters Publications, 1975. Shepherd, John, David Horn, Dave Laing, Paul Oliver, and Peter Wicke, eds. Continuum Encyclopedia of Popular Music of the World. Vol. 2, Performance and Production. New York: Continuum, 2003.
ORCHESTRAL PART ASSIGNMENTS Carroll, Raynor. Symphonic Repertoire Guide for Timpani and Percussion. Pasadena, CA: Batterie Music, 2005. Daniels, David. Daniels’ Orchestral Music. 5th ed. Lanham, MD: Rowman & Littlefield, 2015.
BIOGRAPHICAL Larrick, Geary. Bibliography, History, Pedagogy and Philosophy in Music and Percussion. Lewiston, NY: Edwin Mellen Press, 1999. ———. Biographical Essays on Twentieth-Century Percussionists. Lewiston, NY: Edwin Mellen Press, 1992. Ludwig, William F., III. The Making of a Drum Company: The Autobiography of William F. Ludwig III. Edited by Rob Cook. Alma, MI: Rebeats, 2001.
PEDAGOGY Cook, Gary D. Teaching Percussion. 3rd ed. Belmont, CA: Thomson Schirmer, 2006. McClaren, Cort. The Book of Percussion Pedagogy: The Common Elements Approach for Teachers & Performers. Greensboro, NC: C. Alan Publications, 2006. Percussion Education: A Source Book of Concepts and Information. Urbana, IL: Percussive Arts Society, 1990.
DRUM SET AND POPULAR STYLES Brown, Thomas A. Afro-Latin Rhythm Dictionary. 2nd ed. Van Nuys, CA:
Alfred Publishing, 1992. Budofsky, Adam, ed. The Drummer: 100 Years of Rhythmic Power and Invention. Cedar Grove, NJ: Modern Drummer Publications, 2006. Dean, Matt. Drum Kit Secrets: 52 Performance Strategies for the Advanced Drummer. Lanham, MD: Scarecrow Press, 2014. The Engine Room: A History of Jazz Drumming from Storyville to 52nd Street. CD. London, Proper Records, 1999. Feldstein, Sandy. The Working Drummer’s Groove Dictionary. New York: Carl Fischer, 2001. Miller, Russ. The Drum Set Crash Course. Alfred Publishing, 1996. Nicholls, Geoff. The Drum Book: A History of the Rock Drum Kit. 2nd ed. New York: Backbeat Books, 2008. Vaughn, Ronald. The Drumset Owner’s Manual: A Heavily Illustrated Guide to Selecting, Setting Up and Maintaining All Components of the Acoustic Drumset. Jefferson, NC: McFarland, 1993. Weinberg, Norman. Guide to Standardized Drumset Notation. Lawton, OK: Percussive Arts Society, 1998.
MAINTENANCE, REPAIR, AND TUNING OF INSTRUMENTS Bonfoey, Mark P. Percussion Repair and Maintenance: A Performer’s Technical Manual. Edited by Anthony J. Cirone. Van Nuys, CA: Alfred Publishing, 1986. Cook, Rob. The Rebeats Calfskin Head Book: Selection, Care, Tucking, Mounting, Tuning and Maintenance. Alma, MI: Rebeats Publications, 2009. Vaughn, Ronald. The Drumset Owner’s Manual: A Heavily Illustrated Guide to Selecting, Setting Up and Maintaining All Components of the Acoustic Drumset. Jefferson, NC: McFarland, 1993.
EARLY PERCUSSION INSTRUMENTS Blades, James, and Jeremy Montagu. Early Percussion Instruments from the Middle Ages to the Baroque. London: Oxford University Press, 1976.
Montagu, Jeremy. Making Early Percussion Instruments. London: Oxford University Press, 1976.
WORLD INSTRUMENTS AND HISTORY Adato, Joseph, and George Judy. Percussion Instruments of the World: A Comprehensive Listing of Percussion Instruments from the Antiquity to the Present. Edited by Ricard E. Rodda. Mentor, OH: Joseph Adato and George Judy, 2010. Hart, Mickey, and Jay Stevens. Drumming at the Edge of Magic: A Journey into the Spirit of Percussion. San Francisco, CA: Harper San Francisco, 1990. Montagu, Jeremy. Making Early Percussion Instruments. London: Oxford University Press, 1976. Redmond, Layne. When the Drummers Were Women: A Spiritual History of Rhythm. New York: Three Rivers Press, 1997. Richards, Emil. World of Percussion. Sherman Oaks, CA: Gwyn Publishing, 1972.
MARCHING PERCUSSION Feldstein, Sandy. Snare Drum Rudiment Dictionary. Van Nuys, CA: Alfred Publishing, 1980. Morgan, Tom. A Sequential Approach to Rudimental Snare Drum: A Comprehensive Rudimental Snare Drum Method for the Intermediate to College-Level Student. Greernsboro, NC: C. Alan Publications, 2003. Savage, Matt. Savage Rudimental Workshop: A Musical Approach to Develop Total Control of the 40 P.A.S. Rudiments. Van Nuys, CA: Alfred Publishing, 2001. Wanamaker, Jay. Drum Rudiment Dictionary: A Complete Reference Guide Containing the Percussive Arts Society’s 40 International Drum Rudiments. Van Nuys, CA: Alfred Publishing, 2002. Wanamaker, Jay, and Rob Carson. Percussive Arts Society’s Official International Drum Rudiments. Van Nuys, CA: Alfred Publishing, 1984.
Wanamaker, Jay A. Corps Style Snare Drum Dictionary. Van Nuys, CA: Alfred Publishing, 1981. Wooton, John. The Drummer’s Rudimental Reference Book. Nashville, TN: Row-Loff Productions, 1992.
NOTATION AND ORCHESTRATION Black, Dave, and Tom Gerou. Essential Dictionary of Orchestration: Ranges, General Characteristics, Technical Considerations, Scoring Tips. Los Angeles: Alfred Publishing, 1998. Bornstein, Robert G. Range, Transposition & Tuning: A Guide for Over 500 Musical Instruments. Milwaukee, WI: Hal Leonard, 2015. Brindle, Reginald Smith. Contemporary Percussion. London; New York: Oxford University Press, 1991. Gerou, Tom, and Linda Lusk. Essential Dictionary of Music Notation. Los Angeles: Alfred Publishing, 1996. Read, Gardner. Pictographic Score Notation: A Compendium. Westport, CT: Greenwood Press, 1998. Solomon, Samuel Z. How to Write for Percussion: A Comprehensive Guide to Percussion Composition. New York: SZSolomon, 2002. Weinberg, Norman. Guide to Standardized Drumset Notation. Lawton, OK: Percussive Arts Society, 1998. Williams, Chas. The Nashville Number System. 7th ed. Nashville, TN: Chas Williams, 2012.
KEYBOARD PERCUSSION Cahn, William L. The Xylophone in Acoustic Recordings (1877–1929). 2nd ed. Bloomfield, NY: William L. Cahn Publishing, 1996. Chenoweth, Vida. The Marimbas of Guatemala. Lexington: University of Kentucky Press, 1964. Kastner, Kathleen Sherry. “The Emergence and Evolution of a Generalized Marimba Technique.” Thesis, University of Illinois, 1989. MacCallum, Frank. The Book of the Marimba. New York: Carlton Press,
1969. Smith, Sarah E. “The Development of the Marimba as a Solo Instrument and the Evolution of the Solo Literature for the Marimba.” D.M.A. Document, Ohio State University, 1995. Strain, James A. “The Xylophone, ca. 1878–1930: Its Published Literature, Development as a Concert Instrument, and Use in Musical Ensembles.” Dissertation, University of Rochester, 1995.
PERCUSSION TERMINOLOGY Adato, Joseph, and George Judy. The Percussionist’s Dictionary: Translations, Descriptions and Photographs of the Percussion Instruments from around the World. Van Nuys, CA: Alfred Publishing, 1984. Brindle, Reginald Smith. Contemporary Percussion. London; New York: Oxford University Press, 1991. Girsberger, Russ. A Practical Guide to Percussion Terminology. Edited by Anthony J. Cirone. Fort Lauderdale, FL: Meredith Music Publications, 1998.
CYMBALS Pinksterboer, Hugo. The Cymbal Book. Edited by Rick Mattingly. Milwaukee, WI: Hal Leonard, 1992.
BELLS Doggett, Anne, and Gwyn Gillard. See How They Ring! Travelling Bellringers on the Australasian Popular Stage. Bakery Hill, Victoria: BHS Publishing, 2011.
DRUM COMPANY HISTORIES Aldridge, John. Guide to Vintage Drums. Fullerton, CA: Centerstream Publishing, 1994. Cangany, Harry. The Great American Drums and the Companies That Made Them, 1920–1969. Edited by Rick Van Horn. Cedar Grove, NJ: Modern Drummer Publications, 1996. ———. Mr. Leedy and the House of Wonder: The Story of the World’s Finest Drums. Anaheim Hills, CA: Centerstream Publishing, 2008. Cook, Rob. The Complete History of the Leedy Drum Company. Fullerton, CA: Centerstream Publishing, 1993. ———. Franks for the Memories: A History of the Legendary Chicago Drum Shop and the Story of Maurie and Jan Lishon. Alma, MI: Rebeats, 1993. ———. The Ludwig Book. Alma, MI: Rebeats, 2003. ———. The Rogers Book. 2nd ed. Alma, MI: Rebeats, 2004. ———. The Slingerland Book. 2nd ed. Alma, MI: Rebeats, 2004. Cook, Rob, and John Sheridan. The Gretch Drum Book. Alma, MI: Rebeats, 2013. Esposito, Jeremy. Walberg & Auge: The History and Future of America’s Most Innovative and Unknown Drum Company. Cummington, MA: Walberg & Auge, 2015.
TIMPANI Bowles, Edmund A. The Timpani: A History in Pictures and Documents. Hillsdale, NY: Pendragon Press, 2002. ———. The Timpani Supplement: More Pictures and Documents. Hillsdale, NY: Pendragon Press, 2009. Schweizer, Steven L. Timpani Tone and the Interpretation of Baroque and Classical Music. New York: Oxford University Press, 2010.
PERIODICALS AND JOURNALS Cook, Rob. Leedy Drum Topics: Complete from 1923 to 1941. Anaheim Hills,
CA: Cedarcreek Publishing, 1993. The Instrumentalist. The Instrumental Publishing Co., 1838 Techny Court, Northbrook, IL 60062, 1946–, monthly. The Ludwig Drummer: The Complete Ludwig Drummer’s April 1926 to Spring 1948. Anaheim Hills, CA: Centerbrook Publishing, 1999. NACWAPI Bulletin: Official Publication of the National Association of College Wind and Percussion Instructors. NACWAPI, Washington, DC, 1952–1970, quarterly. NACWAPI Journal. NACWAPI, www.nacwapi.org, 1970–. The Percussionist. Percussive Arts Society, Indianapolis, IN, www.pas.org, 1963–1980. Percussive Notes. Percussive Arts Society, Indianapolis, IN, www.pas.org, 1963–, bimonthly. Percussive Notes: Research Edition. Percussive Arts Society, Indianapolis, IN, www.pas.org, 1980–1987.
About the Author
Since 1997, James A. Strain has been professor of music at Northern Michigan University, as well as timpanist and principal percussionist of the Marquette Symphony Orchestra. He holds a B.M.E. degree from Arkansas State University, an M.M. degree from the Cincinnati College–Conservatory of Music, and a doctor of musical arts degree from the Eastman School of Music. Prior to his appointment at NMU, Strain was on the faculties of Indiana University– Bloomington, Kansas State University, Fort Lewis College, and NW Mississippi Junior College. In addition to being a respected soloist as well as orchestral and chamber performer, he has served as a contributing editor for the second edition of AmeriGrove, the Encyclopedia of Popular Music of the World, and Percussive Notes magazine, and he is the historian for the Percussive Arts Society, the world’s largest organization of percussionists and drummers.
