THE ROLE OF TURKISH PERCUSSION IN THE HISTORY AND ...

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The tambourine’s head may be struck with knuckles, fingertips, palm, closed first, or the knee. In the dance entitled “Trepak” from Tchaikovsky’s Nutcracker Ballet (Figure 34) the performer executes an intricate rhythm by striking the tambourine back and forth between the knee and hand. The tambourine is held upside down so that its single head is closest to the knee. The fingers strike underneath the head inside the instrument. In the movement from Scheherazade entitled “The Young Prince and Princess,” Rimsky-Korsakov chooses for the tambourine to play a strong, repeated pulse. This pulse is accompanied, but not copied by the triangle, cymbals, and drum. For softer passages, a player strikes the rim of the tambourine with the fingertips or with mallets. The striking of the instrument with two mallets in an alternating pattern may require the placement of the tambourine on a flat stand. Covering the stand with a soft cloth or towel prevents undesirable sounds from the tambourine when it is struck. This playing method may also be used for passages involving a rapid succession of notes. As on the other percussion instruments, maintaining a desired length of sound is achieved on the tambourine by rolling. The standard roll involves shaking the instrument from its regularly held vertical position, allowing the sound from its jingles to sustain. The tambourine roll is notated by three slashes on the stem of the rolled note. The length of the roll is determined by the written value of the note. Unlike the suspended cymbal roll, the shaking movement required to generate the jingling of the metal discs (located along the sides of the tambourine’s shell) limits its dynamic range. The standard roll is ill suited for soft passages. 64
Figure 34. Scheherazade by Rimsky-Korsakov (tambourine). Originally Published by M. P. Belaieff, Leipzig. Reprinted from score, (New York: Dover Publications, Inc., 1984) 65
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THE ROLE OF TURKISH PERCUSSION IN T
Page 3 and 4:
TABLE OF CONTENTS ACKNOWLEDGMENTS .
Page 5 and 6:
LIST OF FIGURES 1. Turkish bass dru
Page 7 and 8:
ABSTRACT The fascination of eightee
Page 9 and 10:
CHAPTER 1 DESCRIPTION AND INTRODUCT
Page 11 and 12:
not addressed in the monograph beca
Page 13 and 14:
Before the influence of Turkish ins
Page 15 and 16:
The trend to incorporate percussion
Page 17 and 18:
Figure 1. Turkish bass drum. Reprin
Page 19 and 20:
that was often doubled on the trian
Page 21 and 22: the Turkish word for “cymbalsmith
Page 23 and 24: opinion will be further discussed i
Page 25 and 26: Figure 5. Triangle similar to one u
Page 27 and 28: and as seen in Figure 6. The novel,
Page 29 and 30: Figure 7. The tambourine. Reprinted
Page 31 and 32: to the pianoforte as an optional at
Page 33 and 34: Figure 8. La Scala seating arrangem
Page 35 and 36: Early works that precede the use of
Page 37 and 38: Gluck’s use of cymbals for specia
Page 39 and 40: “stick and switch” passages of
Page 41 and 42: Figure 14. “Military” Symphony
Page 43 and 44: Figure 16. Die Ruinen von Athens by
Page 45 and 46: Figure 17. Symphony No. 9 (movement
Page 47 and 48: As seen in Figure 18 from Rossini
Page 49 and 50: the beater and the ruthe as the tim
Page 51 and 52: Figure 20. Overture to Preciosa by
Page 53 and 54: Figure 21. Modern orchestral bass d
Page 55 and 56: situations in the life of a young m
Page 57 and 58: Figure 23. Grande Messe des Morts b
Page 59 and 60: Figure 24. L’Apprenti-Sorcier by
Page 61 and 62: Figure 26. Le sacre du printemps by
Page 63 and 64: it was through the abundant and inn
Page 65 and 66: color of his composition. He calls
Page 67 and 68: Smaller triangles were used to achi
Page 69 and 70: Nikolai Rimsky-Korsakov in his Capr
Page 71: Figure 33. Symphony No. 4 (movement
Page 75 and 76: The Turkish crescent is only briefl
Page 77 and 78: the opposite head with a switch mos
Page 79 and 80: 2. With rare exception, percussioni
Page 81 and 82: Rossini, Gioacchino. Il barbiere di
Page 83 and 84: Duckles, Vincent H., and Michael A.
Page 85 and 86: Corkhill, David. “The Unique Func
Page 87 and 88: APPENDIX CHRONOLOGICAL LISTING OF M
Page 89 and 90: 1911 Stravinsky Petrouchka xylo., b
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