The couplets are vibraphones, and the ending literally dissolves into a dark sweetness.
|
|
Even the percussionists join in, now on different instruments, vibraphones and tubular bells.
|
|
The song's luminous with lavishly recorded guitars, subtle touches of vibraphones and Nau's harmonized vocals.
|
|
Some scintillating passages for trumpets and vibraphones were brimming with a metallic resonance that the orchestra and its music director, Jaap van Zweden, balanced beautifully with the strings and winds.
|
|
Beyond his Dr. Seuss-style cadences, Cam'ron seized ears with the boldness of his arrangements: the twinkling vibraphones of "Oh Boy" and the Sunday-morning keys of "Hey Ma" made rap radio sound softer, more eccentric and self-aware.
|
|
Written for a quartet of singers and an instrumental ensemble heavy in pianos, marimbas and vibraphones, the work juxtaposes texts from the biblical Book of Daniel with Pearl's own words, including some he uttered on camera moments before his death.
|
|
Mr. Reich's Quartet for two pianos and two vibraphones, which opened the evening, was less characterful than at its 2014 American premiere in the smaller, subterranean Zankel Hall at Carnegie: its outer sections less sprightly, its slow middle less melancholy.
|
|
By restricting the most virtuosic material in the 20-minute "Music for Ensemble and Orchestra" to a select group of strings, woodwinds, pianos and vibraphones, he noted that he was hewing rather closely to the intimate forces employed by his usual groups.
|
|
But the hold of the net was not fully broken until I heard the music of Aaron Taylor Kuffner's "gamelatron," an instrument he created that is a mechanized version of the gamelan, a traditional Balinese and Javanese orchestra of drums, vibraphones, bells, chimes, and gongs.
|
|
The piece can either be played with two marimbas and two vibraphones, or with four marimbas.
|
|
Vibraphones are tuned to a standard of A = 442 Hz or A = 440 Hz, depending on the manufacturer or in some cases the customer's preference. Vibraphones with graduated (foreground) and ungraduated (background) bars Like marimbas, professional vibraphones have bars of graduated width. Lower bars are made from wider stock, and higher notes from narrower stock, to help balance volume and tone across the range of the instrument. The bars are anodized, typically in silver or gold color, after fine-tuning and may have a smooth or brushed (matte) finish.
|
|
The major components of a vibraphone are the bars, resonators, damper mechanism, motor, and the frame. Vibraphones are usually played with mallets.
|
|
Musser M-55 Pro Vibe, the flagship of Musser's vibraphone line, is played by professionals and in schools around the United States In 1948, the Musser Mallet Company was founded by Clair Omar Musser, who had been a designer at Deagan. The Musser company continues to manufacture vibraphones as part of the Ludwig Drum Company and is considered by many to be the industry standard. As of 2020, there are numerous manufacturers of the vibraphone that make vibraphones with ranges up to 4 octaves (C3–C7). The list includes Adams, Bergerault, DeMorrow, Majestic, Malletech, Marimba One, Musser, Premier, and Yamaha.
|
|
In the 1930s several manufacturers made soprano vibraphones with a range C4 to C7, notably the Ludwig & Ludwig Model B110 and the Deagan Model 144. Deagan also made a portable model that had a -octave range and resonators made of cardboard (Model 30).
|
|
The album was the first recorded as a leader by Kyle Crane. The instrumentation varies from track to track, but keyboards and synthesizers feature prominently. "Now" features horns and vibraphones; "Grizzly Creek Redwoods State Park" contains guitar and bass. James Mercer sings on "Wishing Cap".
|
|
Ludwig acquired the "Musser Mallet Company", a manufacturer of xylophones, marimbas and vibraphones, in 1965. Ludwig was a strong presence in the marching drum market. Their drums along with their Slingerland rivals. During the 1970s, Ludwig's “Challenger” line of snare drums offered sophisticated tuning and strong build quality.
|
|
Birgit Bidder (real name Anna Åhman) is a Swedish indie musician, songwriter, arranger and artist. Known for ones distinctive voice, Birgit Bidder music often blends elements of pop, psychedelia and art rock. Various instruments can also be found in Birgit's songs, including saxophones, synthesizers, vibraphones, French horns, saw and bandoneon.
|
|
The track features tabla, bongos, muted trumpets, and sampled vibraphones from a Fairlight; the latter two are reflected in the lyrics "from pools of xylophone clear" and "compose with trumpeting shell". Partridge found that the percussion gave the song an Indian feel and tried expanding upon it by singing flattened quarter notes, an idea that Rundgren rejected.
|
|
Performance of City Life, at New England Conservatory, 2007 City Life is a minimalist composition by Steve Reich written in 1995. It is scored for 2 flutes, 2 oboes, 2 clarinets, 2 vibraphones, unpitched percussion, 2 samplers, 2 pianos, string quartet, and double bass. All instruments except the unpitched percussion are to be amplified. Its duration is 24 minutes.
|
|
In the 1990s he began experimenting with the use of electronic processing on his saxophones. In the 2000s among others he performed in a trio with Christopher Dell (vibraphones) and Bertram Ritter (percussion) and a duo with Michael Wollny. He received several prestigious German awards such as "Deutscher Jazzpreis" (1999), "SWR-Jazzpreis" (2008) and several times the "Deutscher Schallplattenpreis"("German Record Critics' Award").
|
|
"I Ran" (also known as "Look" and originally labelled "Untitled Song #1") is a song that featured upright bass, vibraphones, keyboard, French horn, guitars, organs, trombone and woodwind. The Beach Boys recorded vocals for the track on October 3, 1966, but the tape from that session was lost. In 2004, the piece was retitled "Song for Children" and given new lyrics by Parks.
|
|
Musically, it uses a lot of instruments; a string section, xylophones, vibraphones, organs and more. The first one and a half minutes is a slow-tempo intro with heavy orchestration, before settling into the main upbeat tempo which could remind a little bit of disco. It was also performed at his last concert before his throat surgery in Sydney, on 14 December 1986.
|
|
Reich, S. 1984. Sextet. Boosey and Hawkes The early vibraphones used motors that were intended to power record-player turntables and had limited or no speed-adjustment capabilities. Whatever speed adjustments were possible were made by moving the drive belt among a small number of pulleys (usually three) of varying diameters. Later, variable-speed AC motors became available at reasonable prices.
|
|
Proverb is a musical composition by Steve Reich for three sopranos, two tenors, two vibraphones, and two electric organs. It sets a text by Ludwig Wittgenstein from the year 1946 and published in Culture and Value.Composer's Notes from the Boosey & Hawkes site. It was written in 1995 and was originally intended for The Proms and the Utrecht Early Music Festival.
|
|
The Percussions-Claviers de Lyon ensemble performing Sextet, Salle Rameau, Lyon, France, November 6, 2006 Sextet is a composition by Steve Reich. As the title indicates, it is written for an ensemble of six: four percussionists and two keyboardists. The percussionists play (at various times) three marimbas, two vibraphones, two bass drums, crotales, sticks, and tam-tam. Two percussionists double on piano during the opening "Pulse" section.
|
|
Following World War II, Musser left the Deagan Company to start his own firm, Musser Marimbas. In addition to marimbas, the company made vibraphones, xylophones, glockenspiels and chimes. Business acumen was not one of Musser's strengths, and the company was sold to Lyons Band Instrument Manufacturers in 1956. The Musser company was sold to Ludwig Drum company in 1965; the latter was sold to Selmer in 1981.
|
|
's instrumentation is exclusively brass and percussion, a nod to the show's roots in the drum and bugle corps activity. Blast!'s performers use trumpets, flugelhorns, mellophones, baritone horns, tubas, trombones (including one on a unicycle during "Gee, Officer Krupke!"), french horns, and a full complement of percussion instruments including snare drums, tenor drums, bass drums, xylophones. vibraphones and marimbas, timpani, and other standard percussion equipment.
|
|
Toe is currently one of four bands on the indie label Machu Picchu, which was formed by the members of Toe, along with the bands Mouse on the Keys, Enemies, and Tangled Hair. The vast majority of the band's music is instrumental. The band has changed their sound over their musical tenure by incorporating acoustic guitars, Rhodes piano, and vibraphones in their most recent releases. The band tours regularly in Japan.
|
|
These cycles use dominant chords with added tones to give it a darker, more chromatic sound, much like Reich's previous piece, The Desert Music. Sextet plays with two aspects of music. First, it tries to overcome natural acoustic limitations of percussion instruments. Vibraphones are normally incapable of sustaining pitches at the same volume like wind or string instruments; they act much like a piano, where notes are struck and then allowed to ring, eventually decaying.
|
|
The Blue-Jazz, Jazz-army, and Jazz Combo bands, as well as the Percussion Ensemble, are entirely volunteer-based as well. Students are allowed into Blue Jazz if they have exceptional skill at jazz music and play the appropriate instruments. Otherwise, they may choose to be part of the Jazz Army. Percussion Ensemble consists of percussion instruments, which include drums, xylophones, timpanis, vibraphones, pianos, maracas, and a variety of other percussion instruments.
|
|
Vibraphones usually have an electric motor and pulley assembly mounted on one side or the other to drive the disks in the resonators. Often, mainly in classical music or in non-jazz ensembles like a percussion ensemble or front ensemble, the vibraphone is played with the motor off and the disks not moving. In those cases having the motor off is the norm and is not used unless specifically called for.Nelson, R. 1969.
|
|
Music is arranged based on original works as well as recreations of movie themes, popular music, classical music, and more. Instrumentation is anything that would or could be used under the percussion category of any musical group. This includes instruments such as snare drums, tenors, bass drums, cymbals, xylophones, marimbas, vibraphones, tambourines, chimes, timpani, drum kits, and other similar instruments. Electronic instruments such as guitars, bass guitars, theremins, and synthesizers are also allowed in most competitive circuits.
|
|
Mallet Quartet is a composition by Steve Reich scored for two marimbas and two vibraphones, or for four marimbas. It was co-commissioned by the Amadinda Quartet in Budapest, on the occasion of its 25th anniversary, by Nexus in Toronto, So Percussion in New York, and Synergy Percussion in Australia. It received its world premiere in December 6, 2009 at the Bela Bartók National Concert Hall in Hungary and its US premiere at Stanford University on January 9, 2010.
|
|
Originally the only mallet instruments allowed to be marched were timpani in 1972, glockenspiels, and xylophones in 1974. In 1977, marimbas and vibraphones were allowed to be used, but they still had to be marched. Overtime, people began to realize the physical strain of carrying these large, awkward instruments, and they were allowed to be grounded in 1978. This allowed extended techniques and higher quality instruments (like pedal timpani and 4-octave marimbas) to be used.
|
|
Throughout the 1930s and 1940s, each manufacturer attracted its own following in various specialties, but the Deagan vibraphones were the models preferred by many of the emerging class of specialist jazz players. Deagan struck endorsement deals with many of the leading players, including Lionel Hampton and Milt Jackson. The Deagan company went out of business in the 1980s and its trademark and patents were purchased by Yamaha. Yamaha continues to make percussion instruments based on the Deagan designs.
|
|
The glockenspiel is the mallet percussion instrument most often used as a part of the battery. The tradition of marching the glockenspiel as part of the battery is common in many countries, such as in the Filipino drum and lyre corps. In the early 1970s, mallet percussion was first allowed into drum corps in competitive circuits, such as Drum Corps International. At first, only glockenspiels and xylophones were allowed, but starting in 1976 marimbas and vibraphones were also allowed.
|
|
Composer Steve Reich Radio Rewrite is a 2012 work for instrumental ensemble by American composer Steve Reich (born 1936),Schwarz, p. 50 inspired by two songs by British rock band Radiohead: "Jigsaw Falling into Place" and "Everything in Its Right Place". The piece represents the first time that Reich has reworked material from western pop/rock music. It has five movements, alternating fast and slow, and is scored for clarinet, flute, two violins, viola, cello, two vibraphones, two pianos and electric bass.
|
|
Ludwig Drums Exhibit at 'The NAMM Show' on January 17, 2020 in Anaheim, California Ludwig Drums is a US musical instruments manufacturers, focused on percussion. The brand achieved significant popularity in the 1960s due to the endorsement of the Beatles drummer Ringo Starr. Products manufactured by Ludwig include drum kits and hardware. The company also commercialises other percussion instruments (from the Musser Mallet Company acquired in 1965) such as marimbas, vibraphones, xylophones and bar chimes through its parent company Conn-Selmer.
|
|
It got its name from the vibrating fans below the bars that could be turned on an off electronically, giving the instrument a vibrato effect. The Vibraharp, created in 1928 by J.C. Deagan, is the same instrument, but created out of aluminum instead of wood or steel. Due to its success, Leedy began manufacturing their vibraphones with aluminum in 1929, and they are still made of aluminum today. In the mid-1930s, the Blüthner piano company built a lightweight aluminum alloy piano for the airship Hindenburg.
|
|
The use of technology has changed the musical landscape of world class drum corps. The low registers of keyboards and synths are used to support low brass sections in many shows, leading to an overall more bass-heavy sound in modern drum corps. In the past, mallet percussion instruments like marimbas, vibraphones, and xylophones had to be played with hard rubber, plastic, brass, or aluminum mallets in order to be heard over the brass section. The keys had to be struck forcefully, with large stick height.
|
|
In the Philippines, a drum and lyre corps is a marching ensemble consisting of strictly percussion instruments and a color guard section. The drum and lyre corps originated in the Philippines, as an economical alternative to regular brass bands or a drum and bugle corps. The instrumentation of a drum and lyre corps consists of a typical marching band (snare, tenor, and bass drums, and cymbals) with the bell lyre section. The lyre sections consist of bell lyres, glockenspiels, as well as vibraphones and marimbas.
|
|
"Drowned in Wine" became a full-blown rocker with his overamplified flute, and his vibraphones added a jazz touch to the blues number "Love Is a Sleeper." A Song For Me was released in January 1970 to rave reviews, and Family seemed re-invigorated by Palmer's arrival. Palmer contributed to the next two Family albums, Anyway and Fearless. On the latter album, released in 1971, Palmer contributed the jazz instrumental "Crinkly Grin" and the song "Larf and Sing," which he sang lead on himself.
|
|
Instrumental and mostly mid-tempo, Tortoise slowly garnered praise and attention, notably for its unusual instrumentation (two bass guitars, three percussionists switching between drums, vibraphones and marimbas). A remix album followed, Rhythms, Resolutions and Clusters. Brown left and was replaced by David Pajo (formerly of Slint) for 1996's Millions Now Living Will Never Die, which showed up on many year-end best of lists, and the 20 minute Djed was described by critic John Bush as proof that "Tortoise made experimental rock do double duty as evocative, beautiful music."Bush, John.
|
|
Trixon is a former German musical instrument manufacturing company, established in 1947 by Karl-Heinz Weimer. Trixon drums were remarkable for their innovations in their construction, including conical and ellipsoidal shaped shells, and unique designs in mounting hardware. Their product line eventually included vibraphones, xylophones, conga drums and many stands and fittings. After the company closed, the Trixon brand has had two revivals, the first in 1997 (which lasted a short time after all the inventory was destroyed by fire) and the second in 2007, which has remained to present days.
|
|
The music score was composed by Bernard Herrmann in August 1951, and was the first film score he composed after moving from New York to Hollywood. Herrmann chose unusual instrumentation for the film: violin, cello, and bass (all three electric), two theremin electronic instruments (played by Dr. Samuel Hoffman and Paul Shure), two Hammond organs, Fox studio's Wurlitzer organ, three vibraphones, two glockenspiels, marimba, tam-tam, two bass drums, three sets of timpani, two pianos, celesta, two harps, one horn, three trumpets, three trombones, and four tubas.Wrobel, Bill. "Score analysis." filmscorerundowns.net.
|
|
The album also makes extensive use of outside instruments, adding acoustic guitars, accordions, clarinets and vibraphones in addition to the band's keyboards and horn section. A full big band orchestra is used on "Come Back to Me", a cover song taken from the 1965 Burton Lane/Alan Jay Lerner Broadway musical On a Clear Day You Can See Forever. "Come Back to Me" was later re- recorded for the Daddies' 2014 Rat Pack tribute album Please Return the Evening, featuring only the band's regular line-up as opposed to a full orchestra.
|
|
Daktari (subtitled Shelly Manne Performs & Conducts His Original Music for the Hit TV Show) is an album by drummer Shelly Manne recorded in 1967 featuring music from Daktari and released on the Atlantic label.Atlantic Records Catalog: 8100 series accessed August 18, 2015 On the album, Mike Wofford plays a tack piano to evoke an African sound, and Manne is joined by percussionists Emil Richards, Larry Bunker, Frank Carlson, and Victor Feldman. According to the record liner notes, Manne and fellow percussionists play ankle and wrist jingles, Thai mouth organs, angklungs, ocarinas, vibraphones, tympani, and different kinds of marimbas.
|
|
Orchestras continued to use noise in the form of a percussion section, which expanded though the 19th century: Berlioz was perhaps the first composer to thoroughly investigate the effects of different mallets on the tone color of timpani.Hast, Cowdery, and Scott 1999, 149. However, before the 20th century, percussion instruments played a very small role in orchestral music and mostly served for punctuation, to highlight passages, or for novelty. But by the 1940s, some composers were influenced by non-Western music as well as jazz and popular music, and began incorporating marimbas, vibraphones, xylophones, bells, gongs, cymbals, and drums.
|
|
The album title itself refer to the world "central", which in this case refer to Central Jakarta, where the most band members grew up. The music varied greatly from track to track as each member contributed lead singing and song-writing in this album. Their vintage instrumentation, like the use of vibraphones, mellotron, and horn section is reminiscent of popular music in the 1950s, 1960s and 1970s. The first album was praised by Time Magazine Asia as "One of Five Asian Albums Worth Buying", and Rolling Stone Indonesia magazine ranked it the 40th in "150 Greatest Indonesian Albums of All Time".
|
|
Double Sextet is in three movements, lasting about 22 minutes in its entirety: # Fast # Slow # Fast The piece is strongly driven by the two pianos and the two vibraphones, marking out each phrase and key change, particularly in the fast movements. Within each movement are four harmonic sections in the keys of D, F, A and B (or their relative minors), similar to many of Reich's works; the reason being that the sections eventually return to the original key. The interlocking piano rhythm themes occur throughout the piece. The pianos interlock, creating the effect of constant eighth-note chords.
|
|
Adams composed two versions of Dark Waves: one for two pianos and another for orchestra. The orchestral version calls for an ensemble comprising: ;Woodwinds :2 piccolos :2 oboes :2 clarinets in B :contrabass clarinet in B or E :2 bassoons :contrabassoon ;Brass :2 horns in F :2 trumpets in C :2 trombones :bass trombone :tuba ;Percussion, 2 players :bass drum :cymbal, suspended :tubular bells :2 vibraphones ;Keyboards :celesta :piano ;Strings :violins I (minimum of 12 players) :violins II (minimum of 12 players) :violas (minimum of 9 players) :cellos (minimum of 9 players) :double basses (minimum of 6 players) and electronics.
|
|
Daniel Variations, New England Conservatory, November 2007 Daniel Variations is a composition for large ensemble written by American composer Steve Reich in 2006. It is scored for two soprano and two tenor voices, two clarinets, four pianos, string quartet, and six percussion players (playing bass drum, gong, and four vibraphones). Daniel Variations is in four movements. The first and third movements quote verses from the biblical book of Daniel, while the second and fourth movements use the words of Daniel Pearl, a Jewish American reporter who was kidnapped and murdered by Islamic fundamentalists in Pakistan in 2002.
|
|
In Germany, Spielmannszug, Tambourkorps and sometimes Trommlerkorps are the names given to the German corps of drums, whether it is a military formation or a civilian formation. The instrumentation of these are, commonly fifes and snare drums (just like the Bundeswehr corps of drums that are attached to the unit military bands), flutes and piccolos, Glockenspiels, Bass drums, cymbals and, on some corps, single and multiple tenor drums, and like their British counterparts, bugles (in several corps). Timpani, vibraphones and marimbas, as well as drum kits, are used in concerts. Sometimes even a Turkish crescent is used to symbolize the band, with a banner or guidon with the ensemble emblem.
|
|
Instrumentation is usually based around an acoustic guitar (as well as electric instrumentation), and often includes steel drums, congas, marimbas, vibraphones, steel guitars, or other percussion instruments to create an "island sound". While country and other musical styles focus on falling in love/falling out of love themes, Trop Rock's main focus is on "escapism"—a laid back lifestyle, tropical places, boating, simplifying and having fun. Jimmy Buffett is often referred to as the "Pop of Trop Rock". Buffett and his Coral Reefer Band helped create a tropical sub-culture beginning in the early to mid-1980s, along with other artists including Bertie Higgins.
|
|
In recent seasons, Currie has been a central figure in festivals hosted by the Southbank Centre. In autumn 2013 as part of the festival The Rest is Noise, Currie and members of the Colin Currie Group performed works by Stockhausen and Steve Reich, which Guy Dammann of The Guardian praised for being "technically impeccable and musically overwhelming". In 2014, The Southbank Centre presented Metal Wood Skin, a percussion festival dedicated to Currie. The festival included a number of new commissions, including the world premiere of Reich's Quartet for 2 Vibraphones & 2 Pianos and the UK premiere of Louis Andriessen’s Percussion Concerto, Tapdance, alongside new works by James MacMillan and Anna Clyne.
|
|
In 2018, Gabriel developed a solo project, 'Stubbleman'. A return to his electronic and ambient roots, it combines a cinematic mixture of found sounds and field recordings with modular synthesizers and live piano. Stubbleman's debut album, Mountains and Plains, inspired by a road trip across the US, was released on Marc Hollander's cult Belgian indie label Crammed Discs in April 2019, to positive reviews in the UK, and internationally. His live shows in November at the From the Source festival at Warwick Arts Centre and the Purcell Room in London's SouthBank Centre, as part of the EFJ London Jazz Festival, involved extensive use of self-made automatons: glockenspiels, vibraphones and xylophones.
|
|
A drummer of the Old Guard Fife and Drum Corps with a Snare Drum The original harnesses for the marching glockenspiel and xylophone were made of straps, which sometimes interfered with playing on the high end of the instrument or interfered with four-mallet playing. There were poles on the high and low ends of the keyboards sticking up a few inches, with straps going around the player's neck, making him/her look similar to a peanut vendor. Eventually, before the use of marching marimbas and vibraphones, a new style of harness was made. The new harness was a vest, similar to what is usually used today for marching percussion.
|
|
Wilson said he may have subconsciously based "Let's Go Away for Awhile" on the work of Burt Bacharach (pictured). "Let's Go Away for Awhile" is an instrumental that features 12 violins, piano, four saxophones, oboe, vibraphones, and a Coca-Cola bottle used as a guitar slide. In 1966, Wilson considered the track to be "the finest piece of art" he had made up to that point, and said that every component of its production "worked perfectly". The piece had the working title "Let's Go Away for Awhile (And Then We'll Have World Peace)", a reference to one of Wilson's favorite comedy recordings, John Brent and Del Close's How to Speak Hip (1959).
|
|
Colin Greenwood, Radiohead's bass guitarist, comments in an interview on BBC Radio 4's Today programme: The premiere gained substantial media attention in the UK. Radio Rewrite was generally well received by classical music critics, with the concert receiving four out of five stars in reviews by the Financial Times, The Guardian and The Telegraph, and three stars from The Independent and The Times. Laura Battle, writing in the Financial Times, describes the piece as "rich and impressive," and comments on its atmospheric writing and "sense of wistfulness." The Telegraphs Ivan Hewett calls it "a fine display of compositional mastery." Stephen Pritchard, reviewing for The Observer, describes the piece as "instantly accessible, instantly enjoyable," and draws attention to the "pearlescent luminosity" of the vibraphones.
|
|
For bands that include a front ensemble (also known as the pit or auxiliary percussion), stationary instrumentation may include orchestral percussion such as timpani, tambourines, maracas, cowbells, congas, wood blocks, marimbas, xylophones, bongos, vibraphones, timbales, claves, guiros, and chimes or tubular bells, concert bass drums, and gongs, as well as a multitude of auxiliary percussion equipment, all depending on the instrumentation of the field show. Drum sets, purpose-built drum racks, and other mounted instruments are also placed here. Until the advent of the pit in the early 1980s, many of these instruments were carried on the field by marching percussionists by hand or on mounting brackets. Some bands also include electronic instruments such as synthesizers, electric guitars, and bass guitar, along with the requisite amplification.
|
|
Some acoustic instruments emit a mix of harmonic and inharmonic partials but still produce an effect on the ear of having a definite fundamental pitch, such as pianos, strings plucked pizzicato, vibraphones, marimbas, and certain pure-sounding bells or chimes. Antique singing bowls are known for producing multiple harmonic partials or multiphonics. Acoustical Society of America – Large grand and small upright pianos by Alexander Galembo and Lola L. Cuddly Hanna Järveläinen et al. 1999. "Audibility of Inharmonicity in String Instrument Sounds, and Implications to Digital Sound Systems" Other oscillators, such as cymbals, drum heads, and other percussion instruments, naturally produce an abundance of inharmonic partials and do not imply any particular pitch, and therefore cannot be used melodically or harmonically in the same way other instruments can.
|
|
Multiple tracks feature baritone and lap steel guitars in addition to the electric and acoustic guitars typically used by the band, as well as a variety of percussion instruments, including rotary timpani and vibraphones. The album has been compared to the works of David Bowie, Serge Gainsbourg, Leonard Cohen, Nick Cave, Jarvis Cocker, Richard Hawley and Father John Misty, as well as Pet Sounds (1966) by the Beach Boys. Turner has cited Gainsbourg's Histoire de Melody Nelson (1971), Cohen's Death of a Ladies' Man (1977), Dion's Born to Be with You (1975) and François de Roubaix's score for Le Samouraï (1967) as key influences. The album's drum and bass lines have been compared closely to those on Histoire de Melody Nelson, with the influence of Pet Sounds pervading the record, especially in its vocal harmonies.
|
|
Recorded in December 2011, it's the most minimal cut on Exercises; its instrumentation includes a piano, slow-attack synth brasses performing harmonies in the style of the LP Amber (1994) by English duo Autechre, and a mid-octave synthesized bell counter-melody representing snow. Silver said that it is about a "lost winter feeling" with "moments of tenderness, confusion, elation." Categorized by Williams as a downtempo track in the style of the works of Jean Michel Jarre, "Exercise #7 (Loss)" centers around a triple metre piano with sawtooth wave sounds and vibraphones that fade in and combine to a "cloud" around it, wrote Shaw. Worthington analyzes that "Exercise #6 (December)" and "Exercise #7 (Loss)" depart from the "distinctly urban" element of the other tracks on Exercises for a "warmer" and "earthier" tone with quieter synthesizer textures.
|
|
Percussionist Colin Currie has been fascinated by Steve Reich's music since he was a teenager. He formed The Colin Currie Group in 2006 for a performance of Drumming, by Steve Reich, at the BBC Proms to celebrate the composer's 70th birthday. The Colin Currie Group continued to perform Drumming around the world, and have since added a number of works by Reich to their repertoire, such as Music for 18 Musicians, Sextet, Tehillim, and Music for Pieces of Wood. Reich has worked closely with the ensemble, and has said that Colin Currie is “one of the greatest musicians working in the world today.” Reich has performed with the Colin Currie Group, notably for a performance of his Clapping Music, in a concert that saw the 2014 world premiere of Quartet for 2 Vibraphones and 2 Pianos.
|
|
In 2008, he arranged four songs for the March 2008 Carl Dixon BandTraxs session at Studio A, Dearborn Heights, Detroit, where he and fellow musicians helped complete Dixon's dreams of paying homage to session musicians from the city who played on countless favourites of his from the 1960s. Playing on the session were the likes of Uriel Jones (drums), Dennis Coffey (guitar), Bob Babbitt (bass guitar), Ray Monette (guitar), Robert Jones (piano), Spider Webb (drums), George Katsakis (sax - The Royaltones), Gil Bridges (sax - Rare Earth), Dennis Sheridan (percussion), Larry Fratangelo, percussion (Kid Rock), John Trudell (trumpet), David Jennings (trumpet), Mark Berger (sax), George Benson (sax), Ed Gooch (trombone) and Rob Pipho (vibraphones). He scored the musical arrangements by hand and supplied charts to all musicians in the studio without the help of any computer. He died of cancer in Southfield, Michigan, at the age of 67.
|
|
It received the title of Best Percussion in the 2A division and also won 3rd best color guard and 4th best music. The group tied for 5th overall in the division. The band also competes in the NESBA circuit of shows. In 2008-2009 it performed 'King Kong' and 'Hydrodynamics.' The following academic year it staged 'Heartbeat' and captured 2nd place with a score of 91.7, breaking the 90 mark for the first time since becoming an ensemble. Tim Sepe instituted the Winter Percussion ensemble in 2007. Student members practice with percussion instruments such as xylophones, marimbas, vibraphones, drums, and other auxiliary percussion equipment with added guitar, bass, and keyboard parts. The 2007 group was a concert percussion group and played jazz classics such as 'Take the A Train' and 'Conga.' Matt Cavanaugh headed the 2008-2009 season, when the group transitioned to an indoor marching ensemble.
|
|