What is the drum file?

The

percussion ensemble is a group of musicians who play only percussion instruments. These ensembles focus primarily on the rhythmic aspect of music rather than the melody, although some drum tools are considered melodic. Many different types of these files are found around the world. More modern pieces may require non -traditional objects that can be erased so that sounds such as bowls or garbage can be lids. In many cases, percussionists in drums with a set must be carried out on more drums within the same composition. For example, the composer may have one player to play both a triangle and Cowbell, usually switch back and forth between the instruments of the music.

those who play in a drum file may not in most cases remember their parts. However, the fact that one player can be assigned to cover multiple tools often means that players do it naturally, because players may have to move significantly to make each tool correctly. Percussion players of the T -setThey can easily, because they understand how part for each tool fit into the overall tapestry of the composition, unlike the organ, which sees the right hand, the left and foot pedal of the line as the independent part of the larger whole. If a piece is too long or difficult to remember, players place several copies of music noses on different racks strategically placed between the tools, so it is unnecessary to move notes during the show.

A wide range of tools are available to percussionists that there are a number of different orchestrations available in the composer drum file. Persons of drum brands roughly fall into four main categories, including traditional, contemporary, world and marching.

traditional drum files play primarily classic percussion. These works are generally from two to twenty players. Well -known classic forms that have multiple movements can be followed.

Contemporary drum files are expanding to work with traditional drum files. These files shift boundaries, experiment with differentsounds and rhythmic combinations. They will probably use non -traditional tools.

world drum files focus on maintaining authentic drum sounds from many different countries. For example, they can play pieces that contain tools common to South America, such as Klavy or Metallophones common to the Indonesian region. These groups want to support drum music as its Own Art, but are also strong advocates of unity and cultural recognition.

Marching drum files are usually used in shows and formal ceremonies. They are characterized by tools such as Snare, Toms, Bass Bubms and Xylophones. Although these groups are more limited in terms of tools they can use, because of the fact that everything must be transported, they often produce complicated showmanship and create complex choreographic movements and sequences.

The dynamic range of the drum set varies considerably depending on the writing of the composer and the number of artists in the group. For example, a large marching corp that mIt boasts up to 200 members and rarely perform inside, as it can produce such intense volume that group members must protect their hearing while playing. Smaller groups have easier time to get to a real piano or soft dynamics, but lack numbers that correspond to the volume of large Ensembles. However, the sound in smaller groups can be loud enough to take preventive measures for their hearing and hearing their audience.

Percussion files have been used in a certain form for thousands of years. The earliest ensembles were designed to communicate news from the village to the village, often at the time of celebrations or war. These groups did not necessarily formal sequences, but some drums often communicated specific concepts, such as the need or the fact that there was a wedding. Percussionists in these groups often played in tandem with aerophone players who played early types of corners.

Although drum files were used for communication in some form since antiquity, inPerkusionists played a relatively minimal role until the 19th century. It was only at this point that the composers were able to experiment more freely with sound and form and began to treat tonality. Leavingtonality meant that percussionists no longer had to remain on the background of the files and could be acting as virtuosos according to their own right.