#Traditional Percussion March

[townpostin]

AJSU Party Celebrates Hul Day With March And New Member Induction

Former Minister Leads Commemorative Event, Welcomes Ex-JMM Supporters The AJSU Party marked Hul Day with a grand march and welcomed new members, emphasizing party growth and upcoming electoral challenges. JAMSHEDPUR – The AJSU Party District Committee commemorated Hul Day with a series of events, including a march led by former Minister Ramchandra Sahis and a meeting that saw several JMM…

[mackachu1212]

This originated when I heard the name rue be announced during a marching band competition and I added this lore to the one au I have where everything is mostly normal

Let me know if you wanna see Aziel in band too

If yall don’t I probably will draw it anyways because I have free will and these are my ocs

[literaryvein-reblogs]

Writing Notes: Percussion Instruments

The percussion family of musical instruments - consists of membranophones and idiophones.

Membranophones - (or drums) are instruments that make sound when a player strikes a membrane that is tightly stretched over a frame.

Idiophones - instruments that produce sound when the entire instrument vibrates in response to being struck.

Percussionists play their instruments with their hands or with beaters, a collective term describing drumsticks, mallets, rods, or wire brushes.

Types of Membranophone Percussion Instruments

Nearly every genre of music features some form of drumming, and there are innumerable types of drums across world cultures, including:

Congas: Congas are tall, deeply-pitched hand drums that stand on the floor or on study chrome hardware.

Bongos: Bongos are tall hand drums that are smaller than congas and produce a higher pitch.

Timbales: Timbales are small metal-frame drums that are mounted on a stand and played with beaters. A timbale player usually has two drums, plus cowbell and perhaps a woodblock, as part of their kit.

Mridangam: Thought to be the oldest type of drum still in use, the mridangam has two drum faces—a left face and a right face. Traditional mridangam players apply a mixture of flour and water to the left face to lower its tone when playing.

Tabla: The tabla is the most common percussion instrument in traditional Indian music, typically paired with a sitar. Tablas consist of two drums—a "male drum" that produces a bass tone and a "female drum" that produces a tenor tone.

Djembe: A djembe is a goblet-shaped African drum that a player holds between their knees and plays with their hands.

Talking drum: A talking drum is an hourglass-shaped drum with drum heads on either end. Talking drums get their name from the notion that they can mimic sounds of human speech.

Ngoma: A ngoma is a barrel-shaped African drum that sits on the floor. The drummer strikes it with large wood beaters.

Orchestral bass drum: Similar in origin to the bass drum found in a standard drum set, but much larger in diameter, the classical bass drum hangs from a frame. The percussionist strikes it with handheld mallets.

Tenor drum: Higher-pitched than a bass drum but lower pitched than a snare drum, a tenor drum is round and of medium depth. The drummer plays it with a mallet or a drumstick.

Side drum: The term "side drum" is used in classical music to describe a snare drum, usually with its snare disengaged. Side drums feature prominently in most contemporary classical music, whether or not they're part of a standard drum set.

Bodhran: A bodhran is a traditional Irish drum that sometimes finds its way into orchestral music, particularly when composers hail from the British or Irish isles. A bodhran resembles a tambourine without any jingles. The player strikes it with a small beater. Most bodhrans still are made with real goat skins.

Timpani: Also known as kettle drums, timpani sets consist of massive drums that stand on the floor in front of the player, who strikes them with felted mallets. Timpani pitches can be adjusted using a foot pedal, which loosens and tightens the drum head.

Kick drum: Also known as a bass drum, a kick drum is a large, deep-sounding drum that sits on the floor and is played with a foot pedal.

Snare drum: A bright, trebly drum that features metal snare wires running beneath its lower drum head. Typically, a drummer plays the snare with their non-dominant hand. Larger, body-mounted snare drums are a mainstay of marching band music.

Floor tom: A deep, low-pitched tom-tom drum that stands on legs near the drummer's dominant hand.

Rack toms (sometimes called a hi tom and a low tom): This pair of tom-tom drums hangs above the kick drum. They produce a higher-pitched sound than the floor tom.

Tambourine: Tracing back to the Middle East, a tambourine can be part of a drum set, either mounted as a standalone instrument or placed atop a hi-hat. A tambourine can have a drum head or it can exclusively produce sound via its zils (or jingles), which are metal discs mounted around the tambourine frame. Some players opt for a pandeiro, which is a close relative of the traditional tambourine.

Surdo: An unpitched Brazilian variant on the bass drum, played with handheld beaters.

Types of Idiophone Percussion Instruments

Idiophones produce sound when a percussionist strikes them, causing the entire instrument to vibrate. There are many enduring idiophones throughout the world of music, including:

Cymbals: Most cymbals are curved brass discs appearing in a wide array of sizes. Drum kit cymbals include a hi-hat, ride cymbal, crash cymbal, and splash cymbal, each mounted on a cymbal stand and played with beaters. Orchestral and marching band crash cymbals appear in handheld pairs; they produce sound when a player slides one cymbal past the other. Finger cymbals, as their name implies, are small enough to be worn on the player's fingers.

Crotales: Also known as antique cymbals, crotales are made up of a collection of small pitched cymbals and may be found in everything from classical music to 1970s progressive rock.

Claves: Wooden sticks that click together to produce an unpitched sound. They are a mainstay of salsa music.

Temple blocks: A series of pitched woodblocks popular in classical ensembles.

Agogo: An unpitched metal bell (or pair of bells) often featured in samba music.

Ganzá: An unpitched metal rattle developed in Brazil and popular in Brazilian samba.

Headless tambourine: This instrument is a tambourine without a membrane. It produces sound via the vibration of the frame and jingles.

Slit drum: Also known as a log drum, the slit drum is not a membranophone despite its name. Rather, a slit drum is an idiophone made from a hollowed log.

Udu: An untuned idiophone resembling a hollow jug.

Cajón: Originating in Peru, a cajón (or cajón de rumba) is a hollow wooden box that usually features internal snares on one side. A player sits on the cajón and strikes it with their hands (and occasionally beaters).

Gong: A suspended metal disc found in both Western classical and Eastern traditional music. Orchestras particularly favor a type of gong known as a tam-tam.

Maracas: Originating in Venezuela but popular throughout Latin American music, maracas are wooden shakers with handles.

Castanets: Castanets are handheld wood idiophones that come in pairs. They make a clicking sound when the player snaps two of them together.

Güiro: An idiophone made from a dried gourd. Typically, a percussionist plays güiro by rubbing wire brushes against it.

Shekere: A dried gourd covered with a netting of beads. Originally from West Africa and popular in Latin American traditions, it produces sound when shaken.

Tubular bells: These are pitched chimes that a player strikes with beaters.

Mbira: Also known as an African thumb piano, a mbira contains individual keys that a player presses and releases, causing them to vibrate.

Cabasa: A type of African shaker made by wrapping metal chains around a wooden cylinder.

Xylophone: A pitched percussion instrument made from wooden bars laid out like a piano keyboard, which the player strikes with felted mallets.

Marimba: A musical instrument much like a xylophone but with a greater range and resonators beneath its wood bars.

Vibraphone: An adaptation of a xylophone, the vibraphone has metal bars and a built-in electric resonator that projects the instrument's sound. A vibraphone is essentially a plugged-in metal marimba.

Glockenspiel: A smaller member of the xylophone and vibraphone family, containing small metal bars that produce a definite pitch with numerous overtones.

Steel drum: An idiophone made from a concave metal drum. The player can attain different pitches by striking different parts of the drum.

Cowbell: A hollow metal idiophone named for a similar device hung around the necks of some domestic cows.

Source ⚜ More: Writing Notes & References ⚜ Writing Resources PDFs

[jazzandother-blog]

Art Blakey & The Jazz Messengers - Blues March (Live) (1958)

(English / español)

"Blues March" by Art Blakey & The Jazz Messengers, from the 1958 album "Moanin," blends blues rhythms with military march cadences. Composed by saxophonist Benny Golson, the track captures the essence of the hard bop era.

Blakey's drumming, with a march-like pattern, sets the stage for the interplay between horns. Golson’s composition merges genres, with blues elements offering a soulful counterpoint to the march rhythm. The brass section swings between the solemnity of a parade and the spontaneity of a jazz club, each soloist adding a unique voice.

Reflecting the late 1950s' socio-cultural environment, the march element nods to the Civil Rights Movement, while the blues speak to the African American experience. The song balances tradition and progress.

Blakey’s leadership fosters young talent like Golson, Lee Morgan, and Bobby Timmons, whose performances are brilliant and emotionally charged. His influence ensures individuality and group cohesion.

The recording’s clarity highlights the musicians’ interplay, with a dynamic range from quiet moments to powerful declarations. This ebb and flow keeps listeners engaged.

Live performances of "Blues March" showcase Blakey’s percussive prowess and the ensemble’s synergy. Audiences are captivated by the infectious rhythm and raw emotion.

The legacy of "Blues March" inspires new generations. Its combination of styles, historical context, and virtuosity secures its place in jazz history. Art Blakey & The Jazz Messengers, through "Blues March," exemplify creativity and depth in jazz music.

---------------------------------------------------------------------------

"Blues March" de Art Blakey & The Jazz Messengers, del álbum de 1958 "Moanin", mezcla ritmos de blues con cadencias de marcha militar. Compuesto por el saxofonista Benny Golson, el tema captura la esencia de la era del hard bop.

La batería de Blakey, con un ritmo de marcha, prepara el terreno para la interacción entre las trompas. La composición de Golson fusiona géneros, con elementos de blues que ofrecen un conmovedor contrapunto al ritmo de marcha. La sección de metales oscila entre la solemnidad de un desfile y la espontaneidad de un club de jazz, aportando cada solista una voz única.

Reflejo del ambiente sociocultural de finales de los años 50, el elemento de la marcha hace un guiño al Movimiento por los Derechos Civiles, mientras que el blues habla de la experiencia afroamericana. La canción equilibra tradición y progreso.

El liderazgo de Blakey fomenta jóvenes talentos como Golson, Lee Morgan y Bobby Timmons, cuyas interpretaciones son brillantes y están cargadas de emoción. Su influencia garantiza la individualidad y la cohesión del grupo.

La claridad de la grabación pone de relieve la interacción de los músicos, con una gama dinámica que va de los momentos tranquilos a las poderosas declaraciones. Este flujo y reflujo mantiene enganchados a los oyentes.

Las interpretaciones en directo de "Blues March" muestran la destreza percusiva de Blakey y la sinergia del conjunto. El público queda cautivado por el ritmo contagioso y la emoción descarnada.

El legado de la "Blues March" inspira a las nuevas generaciones. Su combinación de estilos, contexto histórico y virtuosismo asegura su lugar en la historia del jazz. Art Blakey & The Jazz Messengers, a través de "Blues March", ejemplifican la creatividad y la profundidad de la música de jazz.

Source: 1950s MUSIC

[can-of-pringles]

So in Heartstrings I headcanoned Kyle as having been a percussionist in high school marching band/drum corps, and now I'm having thoughts about it-

Imagine Kyle getting back into percussion as a means of getting his coordination back after being necromanced, both traditional snare at first but maybe a full drum set later on, and him really getting into it.

On an angstier side of things, imagine the dissonance of knowing mentally how it all works, but having to retrain your hands because you've lost the memory? Because they're not really your hands anymore, are they? Imagine how the stick must sit a little differently against the palm and fingers because they're just a little broader, the fingers a little stockier, the weight just a little differently-balanced from what you remember? Imagine the frustration of how badly you know you should remember this, but your body doesn't want to cooperate?

But on a gentler side, imagine Jasper coming home to him practicing, occasionally hearing a rhythm that sounds familiar enough to pick up the rest of the song around it. Sometimes he plays with a track and adds his own riffs - he's always enjoyed Rush, of course, but lately he's been teaching himself some of Jasper's favorites too, Paramore and Linkin Park and things of that nature. After a while, he and Jasper end up bonding over the cool rhythms and riffs they notice in new songs, and eventually Jasper even asks him to teach them the basics...

I really love this headcanon and slight expansion(?) Of Heartstrings lore. Good job.

Also it felt like I was slapped and then given a kiss on the cheek when you went to angst and then not angst /lh

[1001albumslist]

Day 22

Album: Roots by Sepultura

Have I listened before? no

Familiarity with the artist: never heard of them

Background Knowledge:

sixth studio album by Brazilian heavy metal band Sepultura. It was released in Europe on February 20, 1996 and in the U.S. on March 12

it is the band's last studio album to feature founding member and vocalist/rhythm guitarist Max Cavalera, who left the band in late 1996 while the band was on tour to promote the album

since its release, Roots has received critical acclaim as a seminal work in Sepultura's discography. it has also proven commercially successful; it has sold over two million copies worldwide, and remains Sepultura's highest-charting album, peaking at 27 on the Billboard 200

Interesting Info:

Following the shift to slower tempos and Latin-tinged rhythms on the album Chaos A.D., Roots delves even further into Brazilian musical textures and features significant contributions from iconic Brazilian musician Carlinhos Brown, who guided and arranged the sections throughout the album that feature ensemble percussion playing

Roots is also a conscious nod to Brazil's marginalized indigenous population and cultures, in both sound and overall aesthetic. the song "Itsári" features a Xavante chant that re-appears on the song "Born Stubborn" and serves as a loose thematic thread for the whole album

Listened on: Apple Music

Listening Notes:

screaming in the first 10 seconds…..nope

“Ratamahatta” is more interesting and more melodic thank god

“Jasco” kind of jarring switch to acoustic fingerpicked guitar…but it sounds nice...and it fits well with "Itsári" right after

the album artwork is really cool too

Favorite Tracks: "Ratamahatta", "Itsári"

Final Review: i just really don't think heavy metal is my kind of music lol. i think its a cool concept to merge Indigenous music with heavy metal, and i think its great that they wanted to do that to celebrate Brazil's marginalized Indigenous population. I did enjoy the moments on the album without the screaming where it was more melodic- or the songs like "Jasco", and "Itsári" with a more traditional Indigenous sound. but overall this was not for me. i'm just really not a heavy metal fan and i don't think this project is going to change that lol

[hide-your-bugs-away]

Thank you for the tag @angrytranspossum !!!! Much appreciated, and rambling will be INEVITABLE. 🙏

Favorite Movie: Dont Look Back (1967) 100%. Some day very soon, I'm going to make an entire video about how genius the cinematic structure of Dont Look Back is along with the roles of the "characters" and how imperative each and every one of them is to the narrative arc that follows Bob... But beyond its cinematic magnificence, I just really love seeing the dynamic of that tired, cynical, introverted yet good-natured rock&roll poet has with everyone in his circle, and the film letting the viewer in on this dynamic. It's such a cozy film, and a really easy one to get into if you're a classic rock fan, especially a fan of 60s music - even if you don't have all of Bob's music and history committed to memory. I knew barely anything about him watching it for the first time... and now it's my favorite movie ever. It also features this silly and fruity British guy who wanders in drunk from time to time and plays really good piano... Alan Price, I think is his name? 🤔

Favorite TV Show: I personally don't watch serialized, fictional shows, since I don't have the mental capactiy to keep up with those sorts of things, but I legitimately loved The Owl House as it came out! Which is funny, because fantasy and horror are two genres I don't engage with much, if at all... but just make everyone LGBT and then it clicks with me. I am basically The Collector with regards to Animals memorabilia 🙏

Favorite Musical Artists: ALAN PRICE ALAN PRICE ALAN PRICE *BASHES MY HEAD AGAINST A WALL* Such an incredible pianist and songwriter.. Besides him, I of course can't shut up about The Animals either 🏳️‍🌈😔 I also really like Donovan, Herman's Hermits, Georgie Fame, Lulu, The Beatles, Dusty Springfield, and a whole lot of Motown music (SUPREMES!! SMOKEY ROBINSON!!) British Invasion/60s music in general! In terms of "modern" music, I like Glass Animals a lot (been listening to their stuff since "How To Be A Human Being" came out).

Favorite Color: Lavender

Favorite Season: Autumn (no allergies 🤞)

Favorite Book: I'll admit, it's been ages since I've read any fiction or books with a traditional narrative since I usually just read biographies now... One of my "recent" favorites is Andy Blackford's "Wild Animals", which features soooo many GOOD color photographs of the Animals, along with a succinct, detailed biography!! WITHOUT TOO MUCH ANTI-ALAN BIAS YAY. "Ready, Steady, Go!: The Weekend Starts Here" is also one I’ve enjoyed so far and am excited to dive deeper into.

Do you have any Funko Pops? : Two, for the sake of my Price-Burdon collection - my friend @/tealightwhimsy got me Leafeon and Glaceon figures because I associate those Pokémon with Eric and Alan respectively. 🙏

Do you play any instruments? : I used to, in high school, when I was in marching band - specifically, the xylophone, marimba, and auxiliary percussion. I stopped because I've become shyer over the years and don't really like performing anymore... I like having my art speak for me instead. ALAN PLAYED THE VIBES AT ONE POINT, THOUGH!! So we played similar instruments at one point, which is cool!! 🥹

Do you have any pets? : I live with three dogs and four rabbits! And I'm allergic to rabbits... 😆

Do you read or write Fanfiction?: Reading fanfics, not so much anymore, mostly because my special interest in The Animals means there's not really anything out there besides the self-indulgent shit I write, haha (especially because I have my own historical fanon and interpretations of the band's dynamic,, I read my own stuff a lot, I'm afraid 🥶). I do read Pokémon fanfics from time to time because there are a lot of gays throughout the series, especially the new games, that are fun to speculate about. I also read anything and everything @/unchained-daisychain writes because she's got that galaxy brain in terms of prompts and scenarios and skills!!! Writing, though, I still do when I have the time between art projects - most recently focused on my Price-Burdon essay-turned-passion-project, but I do want to dabble in writing some more fictitious Animals scenarios and studies in the future... yes, self-indulgent Price-Burdon stuff will of course come free-of-charge, but their fractured dynamic as a band is fun to explore, especially the forces above them that were driving them apart.

What song(s) have you had on repeat repeatedly? : "Hampstead Incident" by Donovan, and "Left Over People"/"Is There Anybody Out There?" by,, cONNIE ARE YOU TALKING ABOUT ALAN PRICE AGAIN,,

wheeEee tagging:

@majito18 @hilton-my-luvx @bobbyhasstardust @unchaineddaisychain @gasstationwomen

[applejongho]

Terribly curious what The™ composer Atiny's opinion on the HALA Traditional Treatment and Expression Revisited remixes are? The violins made me think of you!! 🍎

hello dear anon I am FINALLY here to answer your ask! 😭💀 It is insane what kinda shitty mental health and forgetfulness does to u, ANYWAYS

Hala Hala traditional treatment is actually one of my fav remixes by atz ❤️ I specifically remember getting into them (Feb/March 2021) and listening to that ver more than the OG. And listening to it now... 🤌 Honestly I have zero complaints w anything atz does w strings. they hit it on the nail every time. Symphony no 9 wonderland? Ode to joy answer? Perfection. Can u tell I actually rly enjoyed kingdom 😭 in terms of performances. Honestly any song that uses traditional string/brass/woodwind/percussion/etc makes me interested in it 👀 halazia I will always kiss u on the mouth for including bells. anyways

I didn't even know expression revisited Hala Hala existed 😭 (it is just a 30 second sample of hala Hala w strings for those that are unaware) but I do like it as well!!!! I wish their producers would come back to that style of music again, truly their older stuff was so lyrical and magical and just 🤌🤌🤌 not that noise music does not have its place ofc and I'm one to talk bc I listen to heavy rock on a daily basis so 💀😭

[lboogie1906]

Michael Babatunde Olatunji (April 7, 1927 – April 6, 2003) was a Nigerian drummer, educator, social activist, and recording artist.

He was born in the village of Ajido in southwestern Nigeria. A member of the Ogu people, he was introduced to traditional African music at an early age. His name, Bàbátúndé, means ‘father has returned’, because he was born two months after his father, Zannu died, and he was considered to be a reincarnation. His father was a local fisherman who was about to rise to the rank of chieftain, and his mother was a potter who was a member of the Ogu people. He grew up speaking the Gun (Ogu/Egun) and Yoruba languages. He was groomed to take the position of chief.

When he was 12, he realized that he did not want to become a chieftain. He read in Reader’s Digest magazine about the Rotary International Foundation’s scholarship program and applied for it. His application was successful and he went to the US in 1950.

He received a Rotary scholarship in 1950 and was educated at Morehouse College. He was a good friend of Glee Club director Dr. Wendell P. Whalum and collaborated with him on a staple of the choir’s repertoire, “Betelehemu”. After graduating from Morehouse, he went on to New York University to study public administration. He started a small percussion group to earn money on the side while he continued his studies.

He composed music for the Broadway theatrical and the 1961 Hollywood film productions of Raisin in the Sun. He assisted Bill Lee with the music for She’s Gotta Have It.

He was known for making an impassioned speech for social justice before performing in front of a live audience. His progressive political beliefs are outlined in The Beat of My Drum: An Autobiography. He toured the South with Rev. Martin Luther King Jr. and joined King in the March on Washington.

He performed before the UN General Assembly. He was one of the first outside performers to perform in Prague. On July 21, 1979, he appeared at the Amandla Festival. #africanhistory365 #africanexcellence

[wutaijiemei]

excerpt from the part of a 2022 interview collage did w/ streetvoice where natsuko discusses "talacowa"

(interview by Lizzy Hsu/徐韻軒)

In 1945, the US military began bombing Taiwan, and Japan was on the verge of facing the reality of their imminent loss. A group of young Amis men were at the Takasago volunteer military camp in Taichung, witnessing the chaos firsthand and fearing deployment under such circumstances. They resolved not to fight any more on another nation’s behalf, and a number of them decided to desert and return to Taitung on foot. Natsuko’s grandfather was among them.

This is the basis of “Talacowa”’s narrative. Through music, Natsuko summons the imagery of her grandfather’s journey.

The song begins with an indigenous style of call and response singing, imitating a soldier calling out and receiving a collective response from his companions as they enter the forest. To create contrast with its historical setting, she chose a distorted electric guitar for the Showa-style melody that plays through the chorus.

The snare drum evokes the rigid rhythm of a military march, while other percussion instruments mimick the frog, insect, and bird calls they would have heard during their journey. As the narrative of the long and difficult trek structures itself around day and night imagery, the trumpet becomes the rising sun and the guitar strings become the stars that populate the night sky. Hunter says he hopes that the song’s vivid melody can illuminate the long journey once taken by Natsuko’s grandfather.

“The Amis people are very good at stargazing—the contents of the sky are very important.” In the song’s lyrics, the eight-pointed star guides the Amis youth towards their destination. In addition to symbolizing the protection of the ancestors, it also references the way they would have used the stars as a navigation tool. “My father always stressed to me that the Amis people are excellent survivors,” Natsuko says with a smile.

She shares that in all honesty, although she knew immediately upon hearing the story that she wanted to write the song, she began to question herself several times over the course of its composition. After all, her grandfather passed away before she was born, so what connection did she really have to the song?

Unexpectedly, she not only climbed through the Central Mountains as her grandfather once had, but also began to flip through the pages of her own lost history. “To write the lyrics, I did a lot of reading on the Takasago volunteer soldiers. I realized I was doing something I hadn’t done in my first [Amis language] song—that is to say, I hadn’t integrated my culture into the lyrics of my first song.”

Not everyone joined the Japanese to fight overseas out of submission or deception. She saw that at that time, many indigenous coming of age rituals had been banned. From the perspective of the “civilized” Japanese, rituals such as leaving children alone in forests or tasking them with hunting monkeys were deemed too barbaric. But once indigenous boys were robbed of the opportunity to become men in the eyes of their traditional tribal social structures, they felt it was necessary to prove their courage on the battlefield, instead.

“Why would the colonized wish to fight for their colonizers? In fact, it’s not as simple as everyone may think.”

There is one part of the song that I particularly like:

awaay ma’araw ako ko soda i ca’ang no kilang. awaay ma’araw iso ko taneng niyam. latek cowa kafana’ kako to kararoman no miso. kaorira i, caay ka patadoen ako kiso a malalo’od. we may know nothing of snow-covered branches but you know nothing of our wisdom perhaps i am simply unable to understand your struggles but i will not fight your battles

The “struggles” here refer to the rise of an invading imperial power, and the fact that the Japanese self-concept was inseparable from the many years of discrimination they had suffered from Western powers. Unsure whether her grandfather’s relationship with the Japanese was marked more by animosity or camaraderie, Natsuko chose to use a relatively neutral tone in the absence of her grandfather’s ability to speak for himself.

[axilarycobra]

[Wings of Fire] SkyWing Headcanons

Real Tumblr user right here. I probably should have mentioned this earlier, but if any of these headcanons seem so different that they don't make sense in canon, it's because they're mainly part of my AU world. This isn't very prevalent until later tribes when I start mentioning events that don't occur in canon.

SkyWings are the second most fire-resistant tribe.

SkyWings were once the most friendly tribe but this changed due to the tribe falling victim to cruel queens.

SkyWings used to hold an Olympics-style event for the entire continent in an arena similar to Scarlet's but much larger and without the prison. This event occurred every four years and would be a way for the tribes to bond and show their unique talents. The arena had different areas with different environments to match those of all the tribes and teams from the same tribe would compete in tribe-specific competitions (SeaWings vs SeaWing for swimming, SkyWings vs SkyWing for flying, RainWings vs RainWings for hide-and-seek/venom challenge). There would also be inter-tribal competitions such as gladiator battles (without the killing), relay races where a dragon from each tribe is on a team and must go through challenges, etc.

The SkyWing economy thrives off of its meat industry, wool industry, and color dye industry.

Due to how huge the kingdom is, SkyWings who live near each other often has their own smaller, community council that takes care of smaller issues.

SkyWings have the most variety in their relationships. Some dragons mate for life while others just mate to have dragonets. Some dragons have multiple mates throughout their lives. No SkyWing is judged by how they mate.

The SkyWing Royal Family is represented by amber.

Traditional SkyWing music is played with flutes, clarinets, trumpets, trombones, tubas, and varying types of percussion. Because of their great endurance, SkyWings strive with instruments that require using their breath. The music SkyWings make is usually that of a marching band. They often don't play classical music however and stick with more upbeat, energetic music.

SkyWings believe in multiple gods and were once known for being the most religious tribe before conflict caused the tribe to have to put religion to the side. SkyWings believe that after death, the god of rebirth was responsible for putting the deceased SkyWing's spirit back down to the world. If they pleased the gods during their life, they would be reincarnated as a SkyWing, but if they displeased the gods, they would be reincarnated as other tribes. The SkyWings believed that if you put the body of dead SkyWings in different places, it would be an indication to the god that those SkyWings deserved to come back as a certain tribe (a SkyWing if they were an honorable dragon and basically any of the other tribes if they were a menace). In SkyWing history, many SkyWing individuals would preach that they were the reincarnations of SkyWing gods.

SkyWings love building castles and there are castles all over the kingdom where nobles/elites live with their families.

SkyWings can have patterns that are similar to that of birds. This includes a generally feathery pattern or more specific patterns such as stripes, spots, speckles, etc.

SkyWings find birds with graceful and spectacular tails to be the most beautiful. Elite SkyWings would wear long robes and capes that dragged behind them with their tail to mirror the elegant bird tails they admire.

Historical SkyWing art is valued greatly by the tribe and includes mainly paintings that depict subjects from ancient wars to extensive works around the gods.

[dustedmagazine]

Milford Graves, Arthur Doyle, Hugh Glover — Children of the Forest (Black Editions)

Children of the Forest by Milford Graves, Arthur Doyle, Hugh Glover

Drummer Milford Graves rarely recorded during his lifetime, and, until recently, most of his releases were long out of print. Corbett vs. Dempsey began to rectify that with key reissues of Bäbi, his trio with reed players Arthur Doyle and Hugh Glover, and The Complete Yale Concert 1966, his duos with Don Pullen. TUM records stepped in with Wadada Leo Smith’s Sacred Ceremonies, a 3 CD set including an incendiary duo with Graves along with a trio with Graves and bassist Bill Laswell. Since his death in February, 2021 Black Editions Archive has stepped up the game, digging in to Graves’ vaults, first with an issue of a trio set by Peter Brötzmann, Milford Graves, William Parker, and now, with Children of the Forest, a set of recordings captured in Graves’ Queens workshop with Doyle and Glover in the months leading up to the Bäbi session. The two-LP set documents a January 1976 duo session with Graves along with Glover on tenor saxophone, a brief drum solo from February of that year and a March trio session with Graves, Glover on klaxon, percussion and vaccine (a Haitian one-note trumpet) and Doyle on tenor saxophone and flute. The torrid rawness of these recordings looks toward the torrential barrage of Bäbi but brings out a more ritualistic edge to the playing.

Graves had spent his early years studying African drumming, tablas and playing timbales in Latin jazz bands and that sense of time, extended from African and Caribbean ceremonial music and ritual imbue these sessions. Hugh Glover talks about this and the time he spent with Graves, whom he refers to as Prof, in the extensive interview included with the LP set conducted by Jake Meginsky. “We were listening to the music of the peoples of the interior forest of the Congo… First, the Prof’s mood sets up a tribal-like atmosphere. It’s Congo-like — possession states. The rhythms, I think they immediately stimulated the need to dance… The next thing one must know and be aware of is that Milford Graves, he is not a time-keeping drummer like most jazz drummers. Prof represents the epitome of traditional hand drumming. I’m talking about ceremonial music and ritualistic sounds most familiar with divination.” 

Hugh Glover only recorded a few times so the January duo session with him and Graves is a particular find. The first of the four improvisations starts out with the percussionist’s churning thunder, leading to the entry of the tenor player’s hoarse, braying cries. The two had known each other for a decade at that point and Glover had been part of a European tour of Graves’ quartet along with Joe Rigby and Arthur Williams. That symbiosis is immediately evident. There’s a fluid sense of polyphony and elastic polyrhythms at play as the two bound along with ebullient intensity. The music is charged with open, spontaneous interchange and while the intensity level is high, they never overpower each other. Graves’ percussion work is revelatory here, spilling across his kit with a limber, propulsive dynamism. One can hear the legacy of African and Latin American rhythms exploded out with the drummer’s lithe control of tuned skin and slashing cymbals, with masterful control of dynamics and timbre. The inclusion of a short, 2-minute recording from the session reveals their careful attention to detail as the two sound-check the room and their balance and then charge into a compact give-and-take. Their concluding 7-minute improvisation is a particular highlight as they ebb and flow with synchronous fervor. 

The inclusion of a three-minute drum solo, recorded in February, is a brilliant addition to the set, particularly since Graves didn’t release any solo recordings until his two discs on Tzadik that came out in the late 1990s. On this 1976 recording, Graves distills his unified, multi-limbed attack into a roiling tempest of energy. Each thundering salvo, each cymbal crash, each resounding wallop of the bass drum is meted out with focus and intention. Glover remarks that listening to the solo recording he was struck by “the melody, and the melody of the tones that he gets, the way he rocks from one melody pitch to another. It has always been a mystery to me how Cuban drummers in Bata were able to modulate the rhythm and the meter. Well, it takes more than one player to do it Cuban style. Prof shows you can do it as one player.” 

The three March improvisations with Graves, Glover, and Arthur Doyle provide a notable link in the trajectory toward the session recorded a few weeks later that would be released as Bäbi. Glover reminisces about the March session here, noting “When we played, though, Doyle and I, we weren’t thinking of BÄBI [a name Graves used for his conceptual approach to improvisation]. We were thinking of… well I know I was thing of, and I’m pretty sure he was thinking, how do we keep up with Prof!” While that may have been going through their minds, that uncertainty never reveals itself in their playing. Graves begins the 12-minute improvisation that opens the set with tuned cascades of rim shots and toms and the two quickly join in, with Doyle’s raspy tenor crying out against the shifting percussion. The modulating rhythms and meters of Graves’ solo are the foundation of the buzzing whorls that develop in three-way, spontaneous orchestration which never flags for a moment. The shorter second piece kicks off with an extended section of chattering drums, making way for the two partners to interject barking, ecstatic exclamations that mount with intensity as Graves hurtles in with clanging cowbell. The final piece is the most abstracted, with Doyle’s high-pitched flute skirling against the chafed yawp of Glover’s klaxon and Graves’ coursing flow. Here, improvisation and ritual are melded together with pelting focus. 

Glover concludes his interview reminiscing  that “It was like Prof was saying, there is no ensemble, there is no musical configuration that I can’t play with as long as I’m allowed to play what I want to play. In other words, his confidence factor was like, I know I have the essence of where any group wants to go. If they allow me to do my thing, I’ll take them there.” The sessions released on Children of the Forest are a fitting testament to that belief and provide a welcome addition to the documentation of the lineage of Graves’ musical legacy. Here's to hoping that Black Editions continues to mine the Prof’s archives. 

Michael Rosenstein

[nanshe-of-nina]

Halloween playlists:

[Playlist]

45 Grave — Evil

45 Grave — Partytime

Emilie Autumn — Dead Is the New Alive

Balzac — Inside My Eyes

The Birthday Massacre — Happy Birthday

The Birthday Massacre — Horror Show

Birthday Party — Release the Bats

The Brides — The Strange Passing of John Coal

The Brides — Whore Money

Bloody Hammers �� Witch of Endor

Coven — The White Witch of Rose Hall

Creature Feature — The Greatest Show Unearthed

Creature Feature — Here Be Witches

The Cramps — Goo-Goo Muck

The Cramps — Surfin' Dead

Don Hinson & The Rigamorticians — Riboflavin-Flavored, Non-Carbonated, Polyunsaturated Blood

Einstürzende Neubauten — Ein Stuhl in der Hölle

HorrorPops — Where They Wander

HorrorPops — Walk Like a Zombie

Hamburger Brothers — Omar the Vampire

Inkubus Sukkubus — Belladonna & Aconite

Inkubus Sukkubus — Corn King

Inkubus Sukkubus — Song to Pan

Inkubus Sukkubus — Wytches

The Irish Rovers — The Banshee’s Cry

Jack Off Jill — Cinnamon Spider

Jack Off Jill — Witch Hunt

Killing Miranda — Burn Sinister

Mandragora Scream — Dark Lantern

Ministry — Everyday is Halloween

The Misfits — Die, Die My Darling

Mister Monster — I’ll Watch Them Die

Nick Cave and the Bad Seeds — The Curse of Millhaven

Nick Cave and the Bad Seeds — Red Right Hand

Nick Cave and the Bad Seeds — Up Jumped the Devil

Richard O’Brien — Science Fiction Double Feature

The Ramones — Pet Sematary

Rasputina — Gingerbread Coffin

Shonen Knife — Devil House

Siouxsie and the Banshees — Spellbound

Skycycle — The Ghost Is Here

Skycycle — It’s Terror Time Again

Sopor Aeternus and the Ensemble of Shadows — The Inexperienced Spiral Traveler II

ThouShaltNot — The Haunted Phonograph

The Tiger Lilies — Start a Fire

Jill Tracy — Evil Night Together

Jill Tracy — The Fine Art of Poisoning

Traditional — Down in the Willow Garden

Traditional — Pretty Polly

Traditional — Twa Corbies

Traditional — The Lyke-Wake Dirge

Type O Negative — Black No. 1

Type O Negative — Wolf Moon

Vermilion Lies — Circus Apocalypse

Xmal Deutschland — Incubus Succubus II

Zombina and the Skeletones — Come On

Zombina and the Skeletones — Hey Weirdos

Zombina and the Skeletones — Island of Zombina

Zombina and the Skeletones — New Orleans Incident

Zombina and the Skeletones — You’d Scream If I Knew I Did Last Halloween

Instrumental: [Playlist]

Johann Sebastian Bach — Toccata and Fugue in D Minor

Béla Bartók — Music for Percussion, Strings and Celesta: III. Adagio

Hector Berlioz — Dream of a Witches’ Sabbath from “Symphonie fantastique”

Johannes Brahms — Hungarian Dance No. 5

Fryderyk Chopin — Piano Sonata No. 2 III: Marche funèbre: Lento

Coil — Main Title (unreleased Hellraiser Theme)

Philip Glass — Candyman theme

Gustav Holst — Neptune, the Mystic from “The Planets”

Gustav Holst — Saturn, Bringer of Old Age from “The Planets”

Gygory Ligeti — Requiem

In Slaughter Natives — Beauty and Bleeding

Franz Liszt — Hungarian Rhapsody No. 2

Franz Liszt — Totentanz

Lustmord and Robert Rich — Hidden Refuge

Wolfgang Amadeus Mozart — Dies irae from “Requiem in D Minor”

Wolfgang Amadeus Mozart — Lacrimosa from “Requiem in D Minor”

Midnight Syndicate — Born of the Night

Midnight Syndicate — Carousel Ride

Modest Mussorgsky — Night on Bald Mountain

Nox Arcana — Calliope

Nox Arcana — The Doll House

Nox Arcana — Haunted Carousel

Nox Arcana — Hall of the Witch Queen

Nox Arcana — Once Upon a Nightmare

Nox Arcana — Shock Treatment

Nox Arcana — Temple of the Black Pharaoh

Nox Arcana — The Witching Hour

Sergei Vasilyevich Rachmaninoff — Isle of the Dead

Camille Saint-Saëns — Danse Macabre

Michael Shields — Ginger Snaps Opening Theme

Igor Fyodorovich Stravinsky — Part I: The Adoration of the Earth from “The Rite of Spring”

Pyotr Ilyich Tchaikovsky — Swan Lake - 19 No. 10 Scène (moderato)

[dexterbritain]

No. 14 21st Century Royalty - I couldn’t not include a harpsichord in an album about Royalty. This piece is a blend of traditional and modern music. The harpsichord is tonally traditional but the setting is truly modern. A marching drumline replaces orchestral percussion while the strings push the story forward.

[burlveneer-music]

Lorenzo Morresi & Le Isole - Pop Flop - Morresi’s albums are like master classes in neo-library music composition & production

In March 2022 Lorenzo and Luciano started pre-producing ‘Pop Flop’ at Schema Records headquarters in Milan. Part of the album has also been produced at ‘Museo Del Synth Marchigiano & Italiano’, an incredible collection of rare Italian vintage synthesizers located in Le Marche region where Lorenzo was born. These Italian synthesizers (manufacturers such as Farfisa, Crumar and Elka) were very popular in the 1970s for library music and soundtracks, and they were also used outside of Italy by the likes of John Paul Jones from Led Zeppelin, Keith Emerson, Jean-Michel Jarre and Ray Manzarek from the Doors. As Morresi himself explains, “I tried as a form of respect and love to avoid an album that simply imitates those fifty year old masterpieces, so my idea has been to add contemporary musical elements and genres together with modern production techniques to create something original”. Pop Flop has a warm, cinematic and philological feel; well balanced between tradition and innovation, fusing elements of funk, classical, acid jazz, afrobeat, trip hop - to name a few - and all whilst paying homage to those fantastic years. The song titles sound like we’ve been transported back to 1972 in a time machine: “Odeon," "Slalom," "Savana Urbana", "Beta Erotica”, “Allegro Funerario," "Rio De Janeiro Filter," and so on. We are sure that masters like Umiliani, Tommasi and Brugnolini will be pleased with the end result and will undoubtedly be smiling down from the sky. -- Stefano Gilardino

Lorenzo Morresi: Guitars, Bass, Crumar Composer, Davoli Synth, Elgam ES-200, Farfisa Polychrome, Roland Juno-60, Synket by Paolo Ketoff. Luciano Cantone: Drums and Percussion Archelao Macrillò: Drums on “Odeon”, “Allegro Funerario” and “Track ID” Edward Cawthorne aka Tenderlonious: Flutes Giovanni Guerretti: Electric Piano Fabio Mina: Hulusi Flute on “Savana Urbana” Alberto Napolioni: Electric Piano on “Savana Urbana” Francesco Savoretti: Percussions on “Savana Urbana” Agostino Maria Ticino: Synthesizers Supervisor at Museo Del Synth Marchigiano Photography by Ludovica De Santis Layout by Eugenio Crippa

[onedrawonly-posts]

Grabbz Drops His new Single "Walk With Me"

Grabbz New Single Drops On MARCH 14TH "Walk With Me" https://youtube.com/shorts/h4pwP_HepDE?feature=share WALK WITH ME Grabbz's newest single "Walk with Me" brings a unique, yet captivating vibrancy to the hip hop scene with its strong blend of elements from modern day EDM & Hip Hop. The track tells a story of caution and self-preservation. Set to a mesmerizing beat, with lyrics that explore the themes of resilience and vigilance. Are you ready to embark on the journey with Grabbz and his new hip hop single "Walk with Me"? This metaphorical walk could lead to a better future - one that can only be found by taking the risks and stepping out into the darkness. The track opens with a low rumbling bass line, a mesmerizing synth lead, and a driving percussion arrangement. Grabbz's vocals come in with a sense of no urgency as he raps with raw passion claiming "he's not a rapper". The songs hook gives warning - you should move cautiously, because danger can strike at any moment, even to those we consider invincible - like Superman. "You should come and take a walk with me, down this path is kind of dark you see. I suggest you move cautiously. Cause you can be a victim anytime even superman died." The contrast between the cautionary words and the upbeat instrumental creates the perfect environment for Grabbz's verses, making the listener pay attention to every word. Grabbz's approach to the production of this single is truly noteworthy. He manages to successfully blend traditional hip-hop elements with a modern EDM sound. Creating a unique atmosphere that is both captivating and emotionally stirring. The song's mix of driving percussion, low rumbles of bass, and melodic synth leads, helps to create a mood that is both foreboding and energizing. The verses that follow are full of vivid imagery. Grabbz conveys the experience of walking down a dark path and encountering the various dangers that came with it. Including being federally incarcerated at 21. He touches on how he was able to take advantage of being locked down, by getting his education. Grabbz's powerful delivery of the message in "Walk with Me" makes it easy to connect with the song. This is not just another rap song - it's an invitation to take a journey, to explore the darker side of life and the dangers that come with it. If you're ready to take the plunge and join Grabbz on this journey. Be sure stream his music and leave a comment. Read the full article