Drum playing skills
772 views · Organized by 山霁 on 2022-02-10
The drumming essentials and actions of the row drum are the same as those of the bass drum. Both sides of the row drum can be tuned. This is because each row drum has a large drum on one side and a small drum on the other side, and its sound range is also different. The reason is that the drum head on the other side is not static and resonance occurs although only one side is struck when playing. Therefore, setting the two sides of the drum skin into a consonance interval, on the one hand, it is easy to set the tone, and on the other hand, it can make the pronunciation pure, because the percussion sound is the material of the music itself, which makes the sound pleasant to the ear and the rhythm is clear. In teaching, whether playing in rounds or rolls, or in etudes and solos, the sound quality requires special effort.
In the art of platoon drums, the beautiful and pleasing sound is directly related to the source of power used when hitting platoon drums, the domination of strength, and the method of hitting platoon drums. From the perspective of physiology, the upper limbs of the human body are divided into several parts that can move independently, such as the hand, the forearm, the upper arm, the elbow, the waist, etc. The correct use of strength is the key to learning the basic skills of drumming. Is the use of strength reasonable? Science determines the success or failure of a work.
The source of force for the coordinated movement of fingers, wrists and arms comes from the waist. In other words, the strength of the waist is the source of the power to strike the row drum. "People are driven, the waist is in the middle" The waist plays a role in balancing the body when walking and standing upright, and when exerting force, it is reflected in the power reserve under the command of the brain. Dynamic notation, such as f, ff, fff, etc. Although the performance of these notations has different requirements in different works, they are all expressive. The strength of these performances must be based on the strength of the waist. And make the drum head fully vibrate from top to bottom, (it seems to make the earth make a sound, which is commonly referred to as penetrating the sound). In this way, a good performance can be achieved.
For example, the beginning and end of the drum music and Qin's "Instigating the Central Plains" consists of two fs to three fs. The momentum is powerful, majestic, and atmospheric. If it is not possible to rely on the waist to exert force, it is impossible for the waist force to directly act on the row of drums. The performance is performed by instantaneous transmission of fingers, wrists, arms, shoulders, and back. The coordination of this force transmission is the key to a good performance of the row drum. They are explosive strong Qin, moderate strong Qin.
Explosive play. This kind of strength is common in music. To make the sound elastic and explosive when hitting the row drum, it is necessary to "penetrate" the sound. Especially when playing fast rhythms, the force required to hit the accent part is to make the body part "lift up" from the bottom up. The playing effect is required to be particularly strong, full, and vigorous in tone. Through the waist, upper body, arms and hands, and finally hitting the drum with a drumstick, the obvious "dynamic" on the drum surface is in a state of "lifting strength". The combined use of wrists, arms and waist, as well as the coordinated movement of the entire body including the waist, knees, feet and other parts, can make the waist power highly concentrated and drive the explosion.
Moderately strong. This kind of strength is strong but not explosive, and the volume is also under the explosive strong performance. The fingers, wrists and arms are emphasized, and the sense of force is concentrated but does not drive the explosion: the strength of the fingers, wrists and arms drives the support of inner strength is its characteristic. Only by skillfully grasping the inner support of the fingers, wrists and arms through the drum surface, can the effect of rich, full and solid inner force be achieved.
Weak play. The explosive force is characterized by the fingers, wrists, arms and waist, knees, and feet driving the explosion. Moderate and strong play is characterized by the support and instantaneous transmission of the inner power driven by the fingers, wrists, and arms. The most distinctive feature is the transmission of power from the fingers and wrists during weak play. The principle of exerting force is summarized in twenty words: the idea should start from the fingers and wrists, the force should be symmetrical, the force should be applied to the shoulders and backs, and the fingers and wrists should be pushed slowly. In the weak play, both the volume is required to be weak, and the percussion is required to the end, the sound is real, weak but not weak. This point is difficult to control, and the correct application of the twenty-character principle will have satisfactory results.
In the process of continuous development of percussion platoon drums, more specific requirements have been put forward for the movements of fingers, wrists and arms. It advocates overall relaxation, allowing the natural weight of the arm to be transmitted to the drum surface through the drumstick, and believes that the wrist, forearm, forearm, elbow and shoulder should all be coordinated. Only by properly using the strength of fingers, wrists, arms, shoulders, backs, waists, knees, and feet can you play a satisfactory sound effect. Sound skills, that is, basic striking techniques. Strictly speaking, sound skills should first include sound awareness in the mind. Sound awareness refers to the imagination of the sound in the mind. This similarity comes from the direct perception of the sound of the drum head and the understanding of the music. If you leave the image of the sound in your head, the technique of striking the drumhead is a tree without roots, that is, it cannot express the desired sound. Understanding the pronunciation principles and characteristics of platoon drums is a necessary prerequisite to study the sound skills of platoon drums. The strike is pronounced by hitting the drumsticks to the drumhead. This is the simplest statement of how a row drum sounds. If we do further research on the pronunciation principle of row drums, we can find that the movement track of the drumstick hitting the drum surface is direct, and its movement situation is only different in speed and slowness, which is very important. Because the sound changes of the row drum strength include changes in the sound quality, timbre, and volume, in fact, only changes in the speed of the drumsticks at the moment of hitting. So, in the final analysis, the way the row drum player strikes, controls and affects the speed at which the drumsticks strike. The change in sound depends on the resulting change in the speed at which the drumstick strikes the head. How to use this simple principle to study the rules of operability skills. This is the main question of our research. What is the variation of the drumstick strike, that is, the way of striking? Simply put, the stroke method is the forceful form of the stroke. The force form of the strike includes two aspects: the force method and the force transfer method. The way of applying force is mainly reflected in the striking speed of different forms; the way of transmitting force is mainly reflected in the supporting form of the striking finger or hand, which are the key factors that determine the speed of drumming.
In the art of platoon drums, the beautiful and pleasing sound is directly related to the source of power used when hitting platoon drums, the domination of strength, and the method of hitting platoon drums. From the perspective of physiology, the upper limbs of the human body are divided into several parts that can move independently, such as the hand, the forearm, the upper arm, the elbow, the waist, etc. The correct use of strength is the key to learning the basic skills of drumming. Is the use of strength reasonable? Science determines the success or failure of a work.
The source of force for the coordinated movement of fingers, wrists and arms comes from the waist. In other words, the strength of the waist is the source of the power to strike the row drum. "People are driven, the waist is in the middle" The waist plays a role in balancing the body when walking and standing upright, and when exerting force, it is reflected in the power reserve under the command of the brain. Dynamic notation, such as f, ff, fff, etc. Although the performance of these notations has different requirements in different works, they are all expressive. The strength of these performances must be based on the strength of the waist. And make the drum head fully vibrate from top to bottom, (it seems to make the earth make a sound, which is commonly referred to as penetrating the sound). In this way, a good performance can be achieved.
For example, the beginning and end of the drum music and Qin's "Instigating the Central Plains" consists of two fs to three fs. The momentum is powerful, majestic, and atmospheric. If it is not possible to rely on the waist to exert force, it is impossible for the waist force to directly act on the row of drums. The performance is performed by instantaneous transmission of fingers, wrists, arms, shoulders, and back. The coordination of this force transmission is the key to a good performance of the row drum. They are explosive strong Qin, moderate strong Qin.
Explosive play. This kind of strength is common in music. To make the sound elastic and explosive when hitting the row drum, it is necessary to "penetrate" the sound. Especially when playing fast rhythms, the force required to hit the accent part is to make the body part "lift up" from the bottom up. The playing effect is required to be particularly strong, full, and vigorous in tone. Through the waist, upper body, arms and hands, and finally hitting the drum with a drumstick, the obvious "dynamic" on the drum surface is in a state of "lifting strength". The combined use of wrists, arms and waist, as well as the coordinated movement of the entire body including the waist, knees, feet and other parts, can make the waist power highly concentrated and drive the explosion.
Moderately strong. This kind of strength is strong but not explosive, and the volume is also under the explosive strong performance. The fingers, wrists and arms are emphasized, and the sense of force is concentrated but does not drive the explosion: the strength of the fingers, wrists and arms drives the support of inner strength is its characteristic. Only by skillfully grasping the inner support of the fingers, wrists and arms through the drum surface, can the effect of rich, full and solid inner force be achieved.
Weak play. The explosive force is characterized by the fingers, wrists, arms and waist, knees, and feet driving the explosion. Moderate and strong play is characterized by the support and instantaneous transmission of the inner power driven by the fingers, wrists, and arms. The most distinctive feature is the transmission of power from the fingers and wrists during weak play. The principle of exerting force is summarized in twenty words: the idea should start from the fingers and wrists, the force should be symmetrical, the force should be applied to the shoulders and backs, and the fingers and wrists should be pushed slowly. In the weak play, both the volume is required to be weak, and the percussion is required to the end, the sound is real, weak but not weak. This point is difficult to control, and the correct application of the twenty-character principle will have satisfactory results.
In the process of continuous development of percussion platoon drums, more specific requirements have been put forward for the movements of fingers, wrists and arms. It advocates overall relaxation, allowing the natural weight of the arm to be transmitted to the drum surface through the drumstick, and believes that the wrist, forearm, forearm, elbow and shoulder should all be coordinated. Only by properly using the strength of fingers, wrists, arms, shoulders, backs, waists, knees, and feet can you play a satisfactory sound effect. Sound skills, that is, basic striking techniques. Strictly speaking, sound skills should first include sound awareness in the mind. Sound awareness refers to the imagination of the sound in the mind. This similarity comes from the direct perception of the sound of the drum head and the understanding of the music. If you leave the image of the sound in your head, the technique of striking the drumhead is a tree without roots, that is, it cannot express the desired sound. Understanding the pronunciation principles and characteristics of platoon drums is a necessary prerequisite to study the sound skills of platoon drums. The strike is pronounced by hitting the drumsticks to the drumhead. This is the simplest statement of how a row drum sounds. If we do further research on the pronunciation principle of row drums, we can find that the movement track of the drumstick hitting the drum surface is direct, and its movement situation is only different in speed and slowness, which is very important. Because the sound changes of the row drum strength include changes in the sound quality, timbre, and volume, in fact, only changes in the speed of the drumsticks at the moment of hitting. So, in the final analysis, the way the row drum player strikes, controls and affects the speed at which the drumsticks strike. The change in sound depends on the resulting change in the speed at which the drumstick strikes the head. How to use this simple principle to study the rules of operability skills. This is the main question of our research. What is the variation of the drumstick strike, that is, the way of striking? Simply put, the stroke method is the forceful form of the stroke. The force form of the strike includes two aspects: the force method and the force transfer method. The way of applying force is mainly reflected in the striking speed of different forms; the way of transmitting force is mainly reflected in the supporting form of the striking finger or hand, which are the key factors that determine the speed of drumming.
Involving musical instruments
Pai drum is a new variety of drum instruments. Appeared in the early 1960s, it was produced by Cai Huiquan and Yang Jingming of the China Central Broadcasting Chinese Orchestra based on the reform of the medium-sized hall drum and waist drum commonly used by the people, and has been continuously improved since then. The row drum consists of a set of five drums of different sizes and sounds. The drum is 29 to 33.3 centimeters tall, 16.7 to 37 centimeters in diameter on the upper mouth, and 11.7 to 37 centimeters in diameter on the lower mouth. The outer diameter of the drum frame on both sides of each drum is the same but the inner diameter is different, which can produce two tones with different pitches, so there are ten tones in five drums. The sound of the row drums is fierce and swaying, the treble is firm and powerful, and the middle and bass are generous and bright, especially good at expressing warm and jubilant emotions.
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