Orchestral Excerpts Timpani sheet - THE RITE OF SPRING - Stravinsky
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- เผยแพร่เมื่อ 2 ม.ค. 2023
- ******* ORCHESTRAL EXCERPTS - The Rite of Spring *******
𝗦𝗨𝗕𝗦𝗖𝗥𝗜𝗕𝗘 👉 th-cam.com/channels/V6H.html...
Follow along and enjoy this incredible composition by Igor Stravinsky.
Perfect for preparing your auditions or study hours!
In the video Gabriel plays with these two models:
𝗧𝗖𝗕𝟬𝟮 - 𝗕𝗮𝗿𝗼𝗾𝘂𝗲 𝗦𝗲𝗿𝗶𝗲𝘀:
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𝗧𝗙𝟯𝟬 - 𝗙𝗹𝗮𝗻𝗻𝗲𝗹 𝗦𝗲𝗿𝗶𝗲𝘀:
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********Timpani performer:
GABRIEL RODRIGUEZ:
/ @gr.percussion8482
gr.percussi...
𝗙𝗢𝗟𝗟𝗢𝗪 𝗨𝗦 𝗢𝗡:
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1:05 I have never seen a more french notation than "baguettes seches et dures"
...sounds like a title Satie would have used for a piano piece.
@@ftumschk (takes off my pair of glasses): nice
2 month old baguettes should do it ;)
Literally means "dry and hard sticks", just in case ;) (baguette also means drum stick)
@@DexM47 Thx. I presumed it meant medium mallets.
Me and the homies shedding the timpani rite of spring excerpts 😤
Bros In metamorphosis rn
I'm a cellist in an orchestra and all these time signature changes are giving me severe anxiety! Well done! That's amazing!
The secret is in not counting, but for that, you need to count. A LOT.
@@silentcelli 😆
the REAL secret is in listening. (Well, different musical approach, here. I studied classical music (since childhood through about age 26, if not longer,) and at some point, I began learning West-African music, (which I still play, to this day.)
I have heard parts of the rite of spring (all of it, actually,) SO many times (I used to hear this particular section and the next two constantly back then,) that those timpani hits are almost like a reflex for me (I heard the piece far far far more than I viewed the actual timpani part (I was a timpanist.) a few of those riffs "feel" like they are on different parts of the beat, than they actually are, but that's the entire point: you can re-beam and regroup ANYTHING as long as it comes out the same (and yeah, it might affect phrasing, but let's not get ahead of ourselves here.)
those 5s and those 7s, with the A naturals... listening to recordings of the piece caused my brain to "form it's own" internal 'notation,' which can supersede, even replace, the written notation. (to the degree that the written notation, which IS of course "the real thing," almost feels cumbersome:) amusing.
I played the final section, the sacrificial dance, a few years ago with a youth orchestra as part of a program which provides music lessons to children who wouldn't otherwise have them. (it was in 2013, 100th anniversary of the piece, I think.)
Knowing the piece so well, I found i didn't have to count that carefully, the "script" of what came next was so present in my mind's eye (ear?) that as we performed it, it felt like I was LISTENING to an orchestra and playing along with them.
and wow, that's weird, no?
:)
p.s. I think I forgot to mention that I learned to "listen" to rhythmic relationships by playing West-African music. it's kind of "essential" in that context, in a way that it isn't "quite" as essential in Western Classical, but it can certainly be of USE in Western Classical, indeed many other contexts as well.
ah, don't mind me, I'm just talking about my own experience, not everyone's.
I ALSO forgot to mention that whatever I just said wouldn't be possible without having already heard the piece many many times, memorized it even, and I know this is not often possible if you are playing new music all the time. But sometimes you are indeed playing music for the 100th time.
Listen away:)
and speaking of that, as I commented on another comment higher up,
LISTEN to those trumpets and horns at 1:40! they AREN'T TOGETHER! (they are supposed to be, as they are seconds later when the phrase repeats.)
THEY weren't listening. (either that or the situation in the performance prevented them from listening, this does sometimes happen...)
It's only because you do not play in it. It is not that complicated. Specifically these parts. All you have to do is combine bars. 4/4 + 5/4 = 9/4. 9/8 + 4/4 = (4.5 + 4)/4 = 8.5/4 = 17/8.
The patterns starting at m60 in 5/4 4/4 4/4 literally is just a bar of 9/4 repeating an interval in 8ths starting on the 2nd beat. There is no complexity to it. The 11/4 is literally 11 beats.
The 5/8 that comes after it can be be thought of as 4/8 = 2/4 + an extra half note. Once you learn to feel starting a new bar on an 8th note it becomes very easy. That is, you literally think of 5/8 as 2/4 + 1/8. Or you can think of it as 1/4 + 3/8 = 2/8 + 3/8.
Because it is timpani rather than, say, solo work it is extremely simple. There are no scales, melodies, or chords to have to figure out and many of the parts set themselves up. You could literally write the entire thing in 4/4 and play it just fine.
e.g., m107 the 7/4 + 3/4 = 10/4 = 8/4 + 2/4 You are literally just playing a 4 note figure over and over. You don't even have to count the 7. Just know when to come in(in this case it is on an 8th in the bar but if you are counting it all in 4/4 then it starts on a down beat in 4/4 and the pattern is 7/8(7 out of 8 eighth notes).
Some patterns such as m144 just play through the bar so you don't even have to count the beats, just the repetitions.
It is not impressive or amazing. Only to you because you refuse to put in the time to learn how to do it. If you did you would realize it's quite simple. Even for drums it is very basic. There are drums that play in these types of signatures actually using drum patterns that are much more complex.
Anyways, just think of stuff in 8, when it is simple and not compound, as something in 4 with just extra or missing 8th note. Once you get over the oddness of it then it will be easy to do. Probably take an hour or two at most to figure it out.
5/8 - Count: :: 1 & 2 & 3 & ::
oops that is simple 6/8 ,
:: 1 & 2 & 3 ::
so 1 & 2 & 3 1 & 2 & 3 1 & 2 & 3
So the last & is not counted & but 1 and must be felt as a down beat starting the new bar. It feels sort of like you are "resetting the bar" or whatever but that is *precisely* the feel of true odd time and that is all you have to get used to rather than trying to make it even and flow. It's a sort of syncopation but much harder since generally speaking the downbeat actually shifts.
An easy way to try this is take some pattern in 4/4(say Pachelbel's Cannon in D, in this case play the roots 8ths or just make up some pattern that repeats) and then just leave off a note. This doesn't mean play one note as an quarter, it means play all notes as 8ths but since you only have 7 you will be playing in 7/8. It may sound odd to you but that is because you are not used to it. Once you do that you can leave off or add more 8th notes to get various odd signatures. If you always play the better so the start of the bar is well understood(e.g., start it with a note that isn't used anywhere and sounds like a root so you know it signifies the start). 3/8 is pretty simple too(e.g., fur Elise) which you can literally think of as 3/4 or 6/4 or 6/8 or even 12/8 or 12/4 or triplets in 2/4 or 4/4 or 12/4.
You could try to learn to hear music in various time signatures. E.g., try counting Stravinsky in 8/8 or 3/4 all the way through.
@@kodfkdleepd2876 Get over yourself, I'm not 'refusing' anything, just discovering a part of music playing I'm not familiar with, I'm a cellist, and very familiar with time signatures, just not used to seeing them that way. Anyone unfamiliar would be surprised.
Never mind the audience, I would have expected the _orchestra_ to throw fits when they saw the score (or maybe Nijinsky, trying to choreograph those rhythms)... A genius piece of music, still ahead of its time.
My god, one day I wanna count and have the tempo of this guy!
It's easy once you memorize each sequence.
If you compte you will do a lot of mistakes ... You should live this rythme inside of you naturely
Such a difficult timpani part with all the tempo and meter changes. Well done !!!!
well, i think youll gonna feel it eventually and not counting, despite all the complexity it is still very musical
@@JafuetTheSamethat’s so true.
The Rite can bite you big time if you don’t focus.
It’s extremely difficult to get back on track if you get off by even just a little.
Most of the time you have to know the piece well and go by feel instead of rote counting.
And HE only has to deal with FIVE pre-tuned notes. Imagine any one from the rest of the orchestra - same time sigs, with all the range and options of a violin, oboe or trombone... 😕
But _that's_ why there's a conductor! A thin piece of wire to plug into the wall and fry the committee member that put this piece into the annual Beethoven Festival...😁 (just kidding...)
Stravinsky sure composed some of the best things for timpani
Yes! Always exciting timpani parts!!
I love the Rite of Spring
Cool really fun to see what is going on behind the trumpet (me) when I'm too busy trying not to get lost!
Such an interesting version of difficulty. Nothing he does is very complex but what a drain on focus and concentration 😱
Sounds amazing - great playing!!!
This is hard to play. Very well done.
Fantastic!!!
Terrific!
Awesome inspiration
Damn! Bravo!!!!!!!
so cute omg
Bravo.
Maravilha!
Meraviglioso ❤
Marvelous
Absolutely fascinating and awe inspiring f
Fascinating to see how its done. Thanks
Gabriel is amazing.
Ffs; I strive towards your perfection bro; keep on playin'!
This were really the perfect pairs to play this music 🙌🏼
It is much more impressive when you can see the music.
Great
Will share
Fantastic video! Give me more
Adoro música clássica! É tão serena !
É tão relaxante! Tão calma ! Ótima para dormir. Ótima para estudar.
какой красивый мужик..
ну и литавры тоже круто)) как-то на балет случайно попал - впервые увидел их и заинтересовался..
Wp!
Now this drums sound how from other world
well done.....you have to listen and match and count and pay attention like a nutty person
That seems like its absurdly difficult!
aint you that dude that promised to pay my family a million dollars? tysm man!
In the first excerpt, actually I think the composer intended you to use 4 drums - even though you only had three pitches written the score. He writes for "a pair of low drums and a pair of hi drums and a piccolo drum" so I think he intended that the C on the higher stave is a small drum and the C on the lower stave is a larger drum. But whether that makes any significant difference to the overall sound I do not know. I think there are some things he writes in this piece which don't really make much difference to the sound...
Stravinsky most likely conceived that particular excerpt as being split between 2 players as indicated by the stems up and down. I've actually seen it performed like that but it's more commonly done as in this video.
Playing the timpani part of the Rite if Spring must be really hard... but it also looks extremely fun!
It is!!!
This is no longer music but advanced mathematics.
How anyone could count this irregular meter?))) amazing!
Can you make a video from danzón No 2?
This is just a prime example of the notes you don’t play being harder than the notes you do play.
Wonderful job! Can I ask where do you find orchestra recordings without the percussion parts to play over your video?
LER PARTITURA, GOSTARIA MUITO DE APRENDER. ACHO O MÁXIMO.
The real deal would be the last movement of La noche de los mayas from Revueltas
Finally got it on the 307th take eh
Is there a way to avoid a long chromatic, 'boing' sound with the timpani, make them dryèr?
Weird how if there are any snares? I never noticed that
May I know what recording you are playing along to, please? It's nice and groovy. Thanks!
the rite of spring
@@euphony5552 hahaha yes i know that. I meant which orchestra and conductor
Comment savoir quand le timbalier doit changer de baguettes? Magnifique vidéo en tout cas 😊
Quand elles cassent ;)
@@narthex1681 je voulais dire pendant le morceau regarder vers 02:44 et 03:12
@@samybelhora4602 Cela dépend de l'effet recherché, des instruments d'orchestre du moment et des goûts de l'instrumentiste (pour Stravinsky, aussi du compositeur).
Pardonnez-moi, je suis italien et j'utilise google translate :)
@@janfilipfontana1276 merci beaucoup pour votre réponse mais dites moi et est-ce inscrit sur une partition? et si oui par quels symboles?
@@samybelhora4602 Lorsqu'il est écrit, il est explicitement écrit "baguettes dures/en bois/éponge/douces/autres
Sinon, à l'oreille et au toucher : staccato = dur, legato = doux. Les rouleaux (rolls) sont généralement souples pour mélanger les coups. Mais le type de maillet utilisé est la principale caractéristique d'un timbalier (musicien), il ne peut pas être ajusté : si ça sonne bien, ça va.
De plus, la musique ancienne = dure, ce n'est qu'après Beethoven que l'on utilise des baguettes avec des têtes en tissu
Does it matter how I set up my timpani’s? I set them “backwards.” With the smallest to my left side and the biggest to my right
thats the German system
ooh, trumpets and horns NOT TOGETHER at 1:40! #shame
Is each drum a separate note or can it be tuned up and down?
They all have foot pedals and can be tunde to about a fifth to an octave each!
@@jonathanmosebach2921 Oh! I had no idea..
3:22
Kind of basic compared to something Vinnie Coliauta could do but still badass within the idiom
Play the timpani, they said... It'll be easy, they said...
Am I the only one put off by seeing plastic heads on Adams Schnellars?
This wonderful instrument as odd as it may sound, is not the loudest in an orchestra
My worst nightmare is having to play timpani on this monster. I do not like playing in odd time signatures.
BOF,
j'voudrais bien l’voir faire son malin grimpé sur un cheval de la fanfare de la Garde républicaine, mmh ? 😂
К чему такие мучения?
Stravinsky must have hated tympani players.
чё-то ты не по нотам играешь, братик
no, thanks
3:07
3:20
3:35