#instruments de percussion

[handpan-instrument]

Histoire du Handpan : Origines et Évolution

Découvrez le handpan, un instrument qui a révolutionné la musique moderne avec sa sonorité envoûtante. Cet article explore ses origines mystérieuses et son développement fascinant pour devenir un favori mondial de la relaxation et de la méditation.

1. Naissance en Suisse

Le premier handpan, appelé Hang, a été créé en 2000 par Felix Rohner et Sabina Schärer à Berne. Inspiré par le steel drum et le gamelan indonésien, cet instrument novateur a rapidement capté l'attention pour sa sonorité unique et son potentiel de bien-être.

2. Conception et fabrication

Chaque handpan est fabriqué à la main, ce qui en fait un objet d'art autant qu'un instrument. Les artisans façonnent chaque note pour produire des mélodies harmoniques parfaites, utilisant des techniques spéciales pour accorder chaque note à des fréquences comme le 432hz ou le 440 hertz.

3. Expansion mondiale

Après son invention, le handpan a rapidement trouvé sa place dans les communautés de musique et de méditation du monde entier. De la Suisse, cet instrument a voyagé vers les États-Unis, l'Australie et au-delà, chaque artisan apportant sa touche personnelle au design et à la sonorité.

4. Diversité des modèles

Aujourd'hui, il existe une grande variété de handpans, offrant différentes gammes et nombres de notes, de handpan 6 notes pour les débutants à handpan 17 notes pour les musiciens expérimentés. Cette diversité permet à chacun de trouver l'instrument qui lui convient le mieux, que ce soit pour la composition musicale ou la relaxation profonde.

5. Acheter et apprendre le handpan

Acheter votre premier handpan peut être une expérience excitante mais intimidante. Il est essentiel de choisir un instrument dont la gamme et le ton résonnent avec vos intentions artistiques ou thérapeutiques. De nombreux ateliers et boutiques en ligne, comme Zenapan, peuvent vous aider à trouver le handpan parfait pour débuter ou perfectionner votre pratique.

Conclusion

Le handpan continue de charmer les musiciens et les amateurs de paix intérieure à travers le monde. Que vous soyez un débutant ou un joueur expérimenté, la richesse de ses mélodies et sa capacité à induire la relaxation sont inégalées. Visitez Zenapan pour explorer une sélection variée de handpans et commencez votre propre voyage musical.

Questions fréquentes

1. Qu'est-ce qu'un handpan ? Le handpan est un instrument de percussion mélodique moderne, connu pour ses sonorités douces et relaxantes, idéal pour la méditation et la création musicale.

2. Où a été inventé le handpan ? Le handpan a été inventé en Suisse en 2000 par Felix Rohner et Sabina Schärer, inspiré par le steel drum et le gamelan.

3. Combien coûte un handpan ? Le prix d'un handpan peut varier de 1 000 à plus de 5 000 euros, dépendant de la qualité de fabrication, du nombre de notes et de l'artisan.

4. Comment prendre soin de mon handpan ? Gardez votre handpan à l'abri de l'humidité et des températures extrêmes. Nettoyez-le régulièrement avec un chiffon sec et doux pour maintenir sa qualité sonore.

[gasparodasalo]

José de Nebra (1702-68) - Seguidilla II from Donde hay violencia, no hay culpa. Performed by Pablo Heras-Casado/Concerto Köln on period instruments.

[demonstars]

also drew this sylvee dancing la marimba but i got lazy drawing actual dteam to go with her. so

la marimba esmeraldeña (from provincia de esmeraldas) is a percussion instrument. many genres have emerged from this particular instrument, such as caramba, bomba, cortejos (courting), profesiones (declarations), religious songs such as arrullo, chigualos, sanjuanito, etc. i like to think sylvee is dancing to this song

this is a style very prominent within the north coast and its influences are mainly from afroecuadorian folks. I WANT A WHITE DRESS OF THIS STYLE SO FUCKING BADDDD.

[eterut]

I wanna talk about the prehispanic and mesoamerican representation of music in Black Panther: Wakanda Forever.

The music was my main motivation to go see the film (alongside with the introducing of Tenoch, one of my favorite people inthe world).

The day of the Mexican premiere, my facebook feed was full of photos of musicians (whom I follow for their prehispanic instrumental and amazing work thru the years in the band TRIBU and colabs with musicians Arturo Meza, Jorge Reyes and Rastrillos) attending the premiere and revealing that they participated in the making of the music for the film!

The news clearly moved me to inexplicable levels because those musicians: Ramiro Ramirez Duarte and Alejandro Mendez Rojas, have spent decades working and promoting research, practice and recognition of prehispanic instruments and how mesoamerican music might have sounded.

In addition, these musicians (one with degree in ethnomusicology and anthropological research and the other as a member of the Otomi indigenous community in the north of the territory where I was born and live), have been and are part of projects and musical groups that have given original music and prehispanic instruments the place they deserve in the broad definition of Mexican music.

In an interview with La Silla Rota Guanajuato They explain that "Prehispanic music no longer exists, from that past only the instruments remain, their melodies".

Alejandro Méndez Rojas commented that is unknown how the music of that time was; everything was destroyed in the 16th century because the Spanish prohibited prehispanic musicians and everything that had to do with ancient culture, they stopped making the instruments, there were no longer any manufacturers.

Did you get chills when the Talokani first came out and hypnotized the ship's crew with their voices? This is what you hear:

Did you feel the love and pain through Namor's origin story? This was what accompanied that feeling:

The pieces Namor, Lost in the depths, Yucatán, Namor's Throne, Imperius Rex and Sink the ship also have remarkable elements from prehispanic instruments and voices.

Hearing the distinctive sounds of snails, flutes, rattles, drums, and canes at epic and emotional moments in the film made my heart race and pride prickle my skin.

About "Árboles bajo el mar", Alejandro Mendez Rojas explain in their social media:

"In this piece I composed all the sounds made with prehispanic instruments. I used a Tepehuano bow, tortoise shells percussed by Huave deer antlers, Mayan double-diaphragm whistle, Mayan trumpets, Tezcatlipoca flute, Mayan tunkul among other instruments made by me.

Thank you for allowing me to promote Mesoamerican musical instruments through their sounds in this film and thanks to all the people who collaborated on this piece."

With their work and passion for the music, they become heroes too:

“One way to ensure that instruments are not lost is to build them again, to execute them, to carry out work so that they last, so that they remain alive.

I think that the instruments of prehispanic Mexico deserve that boost, that promotion to enter a world where there is musical diffusion, the instruments deserve that stage to be better know, we have worked with them for many years, have cost us diffusion"

Because it is another form of representation, it is another way of saying "we are here", but on a large scale, it is an opportunity to continue preserving our culture, our roots and to allow it not to go out.

"Mexico has a wonderful ancestral legacy, worthy of being recovered and put into circulation again, the instruments will come to life in every human being who listens to them"

Gracias señores Ramiro y Alejandro por ser tan chingones y seguir trabajando por darle a nuestra herencia y a nuestras raíces la dignidad que merecen. Felicidades por este trabajo tan hermoso y emotivo. Y muchas gracias por ser parte de mi formación y herencia musical. Me siento orgullosa y feliz por todo eso 🫀

Please, listen all the music from the original soundtrack and give them a lot of love. Thank you Ryan Coogler and Ludwig Goransson for let it be this wonderful dignity manifesto that is Wakanda Forever.

🖤🤎

[kemetic-dreams]

Music of African heritage in Cuba derives from the musical traditions of the many ethnic groups from different parts of West and Central Africa that were brought to Cuba as slaves between the 16th and 19th centuries. Members of some of these groups formed their own ethnic associations or cabildos, in which cultural traditions were conserved, including musical ones. Music of African heritage, along with considerable Iberian (Spanish) musical elements, forms the fulcrum of Cuban music.

Much of this music is associated with traditional African religion – Lucumi, Palo, and others – and preserves the languages formerly used in the African homelands. The music is passed on by oral tradition and is often performed in private gatherings difficult for outsiders to access. Lacking melodic instruments, the music instead features polyrhythmic percussion, voice (call-and-response), and dance. As with other musically renowned New World nations such as the United States, Brazil and Jamaica, Cuban music represents a profound African musical heritage.

Clearly, the origin of African groups in Cuba is due to the island's long history of slavery. Compared to the USA, slavery started in Cuba much earlier and continued for decades afterwards. Cuba was the last country in the Americas to abolish the importation of slaves, and the second last to free the slaves. In 1807 the British Parliament outlawed slavery, and from then on the British Navy acted to intercept Portuguese and Spanish slave ships. By 1860 the trade with Cuba was almost extinguished; the last slave ship to Cuba was in 1873. The abolition of slavery was announced by the Spanish Crown in 1880, and put into effect in 1886. Two years later, Brazil abolished slavery.

Although the exact number of slaves from each African culture will never be known, most came from one of these groups, which are listed in rough order of their cultural impact in Cuba:

The Congolese from the Congo Basin and SW Africa. Many ethnic groups were involved, all called Congos in Cuba. Their religion is called Palo. Probably the most numerous group, with a huge influence on Cuban music.

The Oyó or Yoruba from modern Nigeria, known in Cuba as Lucumí. Their religion is known as Regla de Ocha (roughly, 'the way of the spirits') and its syncretic version is known as Santería. Culturally of great significance.

The Kalabars from the Southeastern part of Nigeria and also in some part of Cameroon, whom were taken from the Bight of Biafra. These sub Igbo and Ijaw groups are known in Cuba as Carabali,and their religious organization as Abakuá. The street name for them in Cuba was Ñáñigos.

The Dahomey, from Benin. They were the Fon, known as Arará in Cuba. The Dahomeys were a powerful group who practised human sacrifice and slavery long before Europeans arrived, and allegedly even more so during the Atlantic slave trade.

Haiti immigrants to Cuba arrived at various times up to the present day. Leaving aside the French, who also came, the Africans from Haiti were a mixture of groups who usually spoke creolized French: and religion was known as vodú.

From part of modern Liberia and Côte d'Ivoire came the Gangá.

Senegambian people (Senegal, the Gambia), but including many brought from Sudan by the Arab slavers, were known by a catch-all word: Mandinga. The famous musical phrase Kikiribu Mandinga! refers to them.

Subsequent organization

The roots of most Afro-Cuban musical forms lie in the cabildos, self-organized social clubs for the African slaves, and separate cabildos for separate cultures. The cabildos were formed mainly from four groups: the Yoruba (the Lucumi in Cuba); the Congolese (Palo in Cuba); Dahomey (the Fon or Arará). Other cultures were undoubtedly present, more even than listed above, but in smaller numbers, and they did not leave such a distinctive presence.

Cabildos preserved African cultural traditions, even after the abolition of slavery in 1886. At the same time, African religions were transmitted from generation to generation throughout Cuba, Haiti, other islands and Brazil. These religions, which had a similar but not identical structure, were known as Lucumi or Regla de Ocha if they derived from the Yoruba, Palo from Central Africa, Vodú from Haiti, and so on. The term Santería was first introduced to account for the way African spirits were joined to Catholic saints, especially by people who were both baptized and initiated, and so were genuine members of both groups. Outsiders picked up the word and have tended to use it somewhat indiscriminately. It has become a kind of catch-all word, rather like salsa in music.

The ñáñigos in Cuba or Carabali in their secret Abakuá societies, were one of the most terrifying groups; even other blacks were afraid of them:

Girl, don't tell me about the ñáñigos! They were bad. The carabali was evil down to his guts. And the ñáñigos from back in the day when I was a chick, weren't like the ones today... they kept their secret, like in Africa.

African sacred music in Cuba

All these African cultures had musical traditions, which survive erratically to the present day, not always in detail, but in the general style. The best preserved are the African polytheistic religions, where, in Cuba at least, the instruments, the language, the chants, the dances and their interpretations are quite well preserved. In few or no other American countries are the religious ceremonies conducted in the old language(s) of Africa, as they are at least in Lucumí ceremonies, though of course, back in Africa the language has moved on. What unifies all genuine forms of African music is the unity of polyrhythmic percussion, voice (call-and-response) and dance in well-defined social settings, and the absence of melodic instruments of an Arabic or European kind.

Not until after the Second World War do we find detailed printed descriptions or recordings of African sacred music in Cuba. Inside the cults, music, song, dance and ceremony were (and still are) learnt by heart by means of demonstration, including such ceremonial procedures conducted in an African language. The experiences were private to the initiated, until the work of the ethnologist Fernando Ortíz, who devoted a large part of his life to investigating the influence of African culture in Cuba. The first detailed transcription of percussion, song and chants are to be found in his great works.

There are now many recordings offering a selection of pieces in praise of, or prayers to, the orishas. Much of the ceremonial procedures are still hidden from the eyes of outsiders, though some descriptions in words exist.

Yoruba and Congolese rituals

Main articles: Yoruba people, Lucumi religion, Kongo people, Palo (religion), and Batá

Religious traditions of African origin have survived in Cuba, and are the basis of ritual music, song and dance quite distinct from the secular music and dance. The religion of Yoruban origin is known as Lucumí or Regla de Ocha; the religion of Congolese origin is known as Palo, as in palos del monte.[11] There are also, in the Oriente region, forms of Haitian ritual together with its own instruments and music.

In Lucumi ceremonies, consecrated batá drums are played at ceremonies, and gourd ensembles called abwe. In the 1950s, a collection of Havana-area batá drummers called Santero helped bring Lucumí styles into mainstream Cuban music, while artists like Mezcla, with the lucumí singer Lázaro Ros, melded the style with other forms, including zouk.

The Congo cabildo uses yuka drums, as well as gallos (a form of song contest), makuta and mani dances. The latter is related to the Brazilian martial dance capoeira

[jaibaisetamere]

music terms | français - english

verbes

assourdir - to deafen/muffle

chanter - to sing

composer - to compose

entendre - to hear

gratter - to strum

jouer - to play

tambouriner - to drum

écouter - to listen

noms (masc/fem)

un accord - chord

un bec - mouthpiece

les bois - woodwinds

un bourdonnement - drone

un cor - horn/french horn (haha)

un gazou - kazoo

un groupe - band

un hautbois - oboe

un instrument de cuivres - brass instrument

un instrument de musique - musical instrument

un instrument à cordes - string instrument

un mode - mode

un orchestre d'harmonie - concert band

un orchestre de jazz

un pavillon - bell (for brass instruments)

un piano - piano

un rythme - rhythm

un saxophone - saxophone

un synthétiseur - synthesiser

un tambour - drum

un tambourin - tambourine

un tempo - tempo

un ton/tonalité - key

un violon - violin

un violoncelle

une baguette - drumstick

une basse - bass guitar

une batterie - drum kit

une boîte à rythmes - drum machine

une caisse claire - snare drum

une chanson - song

une charleston - hi-hat

une clarinette - clarinet

une contrebasse - double bass

une corde - string

une flûte - flute

une frette - fret

une gamme - scale

une grosse caisse - bass drum

une guitare - guitar

une mesure - time signature

une note - note

une pédale - pedal

les percussions - percussion

une symphonie - symphony

une touche - fretboard, piano key

une triade - triad

une trompette - trumpet

adjectives

alto - alto

basse - bass

majeur - major

mineur - minor

ténor - tenor

cette liste est plus longue que l'autre, j'espère que c'est mieux comme ça :3

[allthebrazilianpolitics]

Samba instruments recognized as Brazil's national cultural heritage

A total of nine samba musical instruments, including the pandeiro (a type of hand frame drum), tam-tam (a percussion instrument, often referred to as a gong), cuíca (a type of friction drum), and tambourine, have been officially recognized as part of Brazil's national cultural heritage. The law formalizing this recognition was sanctioned by President Luiz Inácio Lula da Silva on Monday (Sep. 30).

The craftsmanship techniques used to create these musical instruments are also recognized as valuable cultural practices and traditions.

The list of nine percussion instruments commonly used in samba circles and samba schools also includes the surdo (a type of bass drum), rebolo (another type of drum), frying pan, timba, and repique de mão (hand drum).

As stated in the new law, these instruments must be acknowledged as expressions of national culture when they follow the traditional practices and methods specific to their craftsmanship. The details regarding the production processes for these instruments will be specified in an upcoming decree.

Continue reading.

[sonicandvisualsurprises]

Release date unknown.

Tamboo bamboo is a Trinidadian percussion instrument (idiophone) created in Trinidad BWI , and is a notable precursor to the creation of steelpan. Its name derives from the French word for drum (tambour) and the material from which the instrument is predominantly made from. It is still played by carnival-goers in Trinidad today, although it was the dominant instrument at carnival at the turn of the twentieth century.

Source : https://en.wikipedia.org/wiki/Tamboo_bamboo#References

[transparentgentlemenmarker]

When you know yourself, your passion whispers you to keep going in your way unconditionally. 🆖🔴I think we born with passion and some of us discover our passion in early times of our lives, some of us discover it lately.. 🆖🔴Like young, Turkish artworker ''HAKAN KENARDA'' discovered his passion in his early childhood, he is amazing performer of darbuka a percussion instrument. He joins Turkish Art Music events like the one you can see. 🆖🔴What do you think? What do you do for your passion? Besides all your responsibilities? Or do you live every moment with your passion? 🆖🔴WHAT EVER YOU DO OR DECIDE, Be you, as who you are.. 🆖🔴Start every day with Faith; with an awareness that your every moment is precious. 🆖🔴When we move on in life passionately, our every action can bring us through new doors and opportunities with every person we meet. 🆖🔴So, Let's embrace the adventure, to let our authentic self lead the way with this awareness of our passion like our every breath ! 🍀Sending many blessings, Happy, Miraculous, Hopeful and Passionate day, ❤️Honor every heart who Nesli Neslihan Girgin neslihigh light for inspiration, motivation and happiness belong to Business and Life.

Quand vous vous connaissez, votre passion qui vous murmure de continuer votre chemin sans condition. Je pense que nous naissons avec la passion et certains d'entre nous la découvre très tôt, et certains d'entre nous la découvrent plus récemment. Hakan Kenarda sa passion et la darbouka, un instrument de percussion. Elle participe à des événements de musique artistique turque comme celui de la vidéo. Qu'en pensez-vous ? Que faites-vous pour votre passion ? En plus de toutes vos responsabilités ? Ou vivez-vous chaque instant avec votre passion ? Quoi que vous décidez, soyez vous-même, tel que vous êtes. Commencez chaque jour avec la passion en étant conscient que chaque instant est précieux. Nous avançons dans la vie avec passion, chacune de nos actions peut nous faire franchir de nouvelles portes et opportunités avec chaque personne que nous rencontrons. Alors, embrassons l'aventure, pour laisser notre moi authentique nous guider avec cette conscience de notre passion comme notre respiration

[minindo]

What are some general mixing tips? Ofc i know every rip is different and stuff is suggestive but i mean like when and how would i use eq, when and how would i use reverb, when and how would i use delay, when and how would i use compression

You have a good point in that every rip (or song or whatever you're doing) is different, even if it's derivative you're making a piece of art so there's plenty of ways to approach it. There's definitely ways to mix that most people would consider sounding better than others, but getting that right is tricky if you can't reliably hear the difference. For a while I didn't really have an ear for these things (hearing clashing and/or subpar mixing) so I just had to go off what other people told me. Eventually, to my surprise, I started to develop an ear for this and now I can judge both my own rips and other people's rips on various criteria. I think that's probably just from raw practice. (Note: I don't have perfect pitch but you don't need that, I have a decent sense of relative pitch now and often use Melodyne to more accurately measure what I'm hearing.) Here's a handful of examples of when I use all of the things you mentioned. This is really not comprehensive, it's just a lot of different tips I remembered.

EQ

Note: You might want to keep the names of frequency ranges in mind here for what I'm saying. If you open Fruity parametric EQ 2 in FL, you can see at the top that it's divided into SUB, BASS, LOW MID, MID, HIGH MID, PRS, and TREBLE. You can find this out by testing, but generally:

bass instruments will be in SUB and BASS (of course). But that's not the only thing that will be there, "bass" is not only an instrument name but a range of frequencies.

Vocals will be roughly around the MIDs, usually.

hi-hats, cymbals and other "wispy" sounding things (like sibilants, the "sh", "t", "ch" in vocals etc) will tend to be in the highest range, near TREBLE or whatever PRS is meant to mean.

Everything else varies wildly, but the good thing is that with visual EQ you can test and hear for yourself what sounds are spread across what frequencies, by reducing or raising them.

Golden rule of EQing mashups: In general, you want to strike a balance in the frequencies between the sources. If one source is naturally strong in the high mids (like in its vocals), you may want to reduce the high mids of the other source to compensate. These songs were not originally designed to be together, so the goal is to somehow make them feel like a cohesive whole. This is why using split stems/multitracks really helps, because you can more accurately reduce certain instrumental elements than a soft EQ would have (for example, by totally removing the bassline of one of the sources so that it doesn't sound muddy against the other source's bass.) Like everything here though, how much you should follow this "rule" would vary in practice depending on the music.

Specific EQ tips:

On DIY vocals I always remove the sub and some of the bass (not too much to where it heavily affects how they sound) because those don't need to be there. I think it cleans up the mix a little bit.

If vocals sound too harsh or piercing, I often lower the high mids. Melodyne pitch-shifting and stretching on certain vocals can sometimes cause that.

Similarly, if percussion is too harsh-sounding, I may lower the highs (treble) a bit, but carefully and not too much.

Reverb

This is another one where… I just use it when it sounds nice. I like putting a little bit of reverb on vocals when it feels like the mix needs it, and sometimes I do it when it probably doesn't need it. Taking FL Studio's Reeverb as an example, the knobs you may want to fiddle with the most would be SIZE, DEC (decay), DRY/WET, H.CUT/L.CUT and maybe BASS?

If I used a de-reverb algorithm on vocals so that I could pitch-shift them better, I would always put a reverb effect back on when I add the vocals into the mix.

One useful thing to note: when you add reverb (particularly to vocals) it's probably a good idea to increase the low cut, this can make the reverb sound less muddier and generally better. This is a tip I gathered from a friend, and posted to Twitter last year.

(There's also stuff to say about convolvers and impulse responses in regards to matching reverb in sequenced music, but I feel like that's outside the scope of this post.)

Delay

Delay makes echo(es) repeated across intervals. You can make the delay panned if you want (even back-and-forth between the ears), or you can make its frequency cutoff reduce with further echoes (sort of a "going underwater" effect), among other options. One thing I use delay for in mashups is when I'm covering a lead melody with vocals and the lead in the instrumental has a delay channel or effect, so I find it fun to match that effect on the vocals too, with the same delay time and panning.

Sometimes you might just want to do it for fun, or to make something sound less empty. In Circus (HQ Audio) - Five Nights at Freddy's I added delay to the vocals. The original Right Foot Creep vocals don't really have any; the Most Mysterious Song vocals might have a little but that didn't matter to me. I added them because it sounded cool and more "full" (one reason might have been the short syllables with more empty space between lines than Right Foot Creep's lyrics normally provide.)

Compression

This one is actually an area I'm less familiar with. I certainly didn't understand compressors for a while, and I usually prefer to use the limiter because the visual aid really helps me understand what's happening to the sound. (That's really just me though, plenty of people I know use other things like Fruity Compressor or common third-party VSTs like OTT, look into these if you're interested.) But they're a very important tool for mixing, and I can definitely think of reasons I would use compressors or limiters:

Evening out the level of vocals. It helps the sound of vocals to have most words be roughly around the same volumes. DIY vocals can especially have this issue, for various reasons relating to how the instrumental may have affected them. A limiter that just smoothes off the high peaks of vocals can be a simple way to solve that. If you want to do it more "finely" for a possible better sound, there's lots of ways syllable volumes can be changed individually. That includes volume automation, clips in the newer versions of FL, Melodyne's amplitude tool, etc.

Compressing drums to make them sound tighter. Again, something that's hard for me to describe at my current level of knowledge/skill lol. I would suggest to put the "Drums" preset in Fruity Compressor on a drum stem and hear what happens to it, as one example of how you can change the texture of a sound through compression.

I can use this topic to talk about the master limiter too. Generally when I'm mixing a rip I like having the volume sort of generally approach the limiter ceiling, maybe going over it a little bit on occasion but not too much of the time. If you compress/limit something too hard, it can become a "brick wall" and will certainly sound like it. (Again, sometimes that could be what you're going for!)

Final note - don't be afraid to use automation clips to change any of these effects' values throughout the track. It's possible that you may want to EQ certain words or lines harsher than others, for example, or that it's appropriate for one section of a melody to have more reverb than the other. Once you get a good feel for what sounds better, you might start going crazy with automation like I have on occasion, but that's not usually expected.

I wrote a lot, but there's definitely parts of this that are lacking in detail either because I thought it was too much for this post, don't have enough knowledge or just couldn't explain it well. If you have any further questions please feel free to ask.

[beautifulpersonpeach]

I Can't Move On

@ejassy, @onthecuterside, @goosetan-sonyeondan, @stormblessed95, @rantingravingliving, all the Anons and anyone else tripping on the instrumentals...

...this one is for you.

The production on this song has my mind on a leash.

(timestamp 1:45 - 2:16 is just orgasmic)

*

I'm hearing Amy Winehouse's Back to Black in the chord progression, Jimin's Lie in the organ instrumentals, Rihanna's Rude Boy in the secondary percussion / rhythm, and the second half of the song from minute 1:45 …c'est là que j'ai su que j'étais fichu.

Based on the instrumentals alone this song already has a Grammy. It doesn't matter whether or not anyone thinks it deserves a Grammy, it has already taken it. You're right about that @ejassy, and I'm happy more ARMYs feel that way too.

Speaking of which, the director of the German Literature Archive Marbach (DLA) said she has two ARMYs in her family and that's how she knew about the Rilke poem written on Jimin's body. Any ARMY in Germany who would like to read more of Rilke's original letters, you now have a standing invitation to the DLA.

PDogg outdid himself with this track, but the real direction has to have come from Jimin because I see too many similarities in songs he has composed/written before: Blood, Sweat and Tears, and Lie.

I'm still processing it but with every listen I notice something new and can't move on. This usually only happens with music made by the rapline, for me. But Jimin...

Goodness, Jimin just... it's too good. I can't speak. Il me donne envie de tuer, de baiser, de gravir des montagnes, de plonger dans l'océan. Jimin me donne envie de crier.

Anyway, stream:

[handpan-instrument]

Comparer Handpan et Hang Drum : Similarités et Différences

Le monde des instruments de percussion en acier offre une variété fascinante de sonorités et de styles, notamment avec le handpan et le hang drum. Bien que souvent confondus, ces deux instruments ont leurs propres caractéristiques distinctives.

Dans ce billet, nous explorerons les similarités et les différences entre le handpan et le hang drum, en mettant en lumière leurs constructions, leurs sonorités uniques, et ce qui les rend uniques dans le monde de la musique contemporaine.

1. Construction et Fabrication

Le handpan et le hang drum sont tous deux fabriqués à partir d'acier spécial, généralement martelé à la main pour créer des dômes et des notes spécifiques. Le hang drum, initialement développé par PANArt, a une structure en forme de bol avec des notes disposées autour du centre.

En revanche, le handpan, une évolution du hang drum, présente souvent une construction en forme de soucoupe avec des notes disposées de manière plus complexe, permettant une gamme tonale plus large et une résonance différente.

Apprenez-en davantage sur l'histoire et les caractéristiques du hang drum sur Zenapan.com et choisissez entre un handpan en acier inoxydable, en acier nitruré ou ember.

2. Sonorités et Timbres

Les sonorités du handpan et du hang drum sont distinctes mais partagent une qualité méditative et apaisante. Le hang drum tend à avoir un son plus doux et résonant, avec des harmoniques riches qui résonnent longuement.

En comparaison, le handpan offre souvent une palette sonore plus étendue avec des basses profondes et des harmoniques aiguës, permettant une plus grande variété d'expressions musicales.

3. Techniques de Jeu

Les techniques de jeu pour le handpan et le hang drum impliquent généralement l'utilisation des mains pour frapper les notes, bien que des variantes telles que le tapping, le hammering et les glissandi puissent être utilisées pour explorer les possibilités sonores étendues de chaque instrument.

La sensibilité au toucher et la dynamique du jeu sont essentielles pour tirer le meilleur parti de ces instruments percussifs uniques.

Explorez nos conseils pour améliorer vos techniques de jeu pour handpan et hang drum sur Zenapan.com.

4. Application Musicale et Styles

Le hang drum a souvent été associé à des styles musicaux méditatifs, ambients et ethniques, tandis que le handpan a élargi son application à des genres plus contemporains tels que la musique du monde, l'électronique, et même le jazz.

Cette diversité d'application reflète la flexibilité tonale et stylistique de chaque instrument, adapté à des performances solo ou en groupe dans divers contextes musicaux.

Explorez une variété de handpans uniques sur Zenapan.com et trouvez celui qui correspond à votre style musical.

5. Fabricants et Accessibilité

Le hang drum, initialement produit par PANArt, a limité sa production et est devenu une rareté sur le marché.

En revanche, le handpan a vu une expansion de la production par de nombreux artisans et fabricants à travers le monde, offrant une accessibilité accrue mais avec des variations significatives de qualité et de prix.

Chaque instrument est souvent fait à la main, ce qui contribue à sa valeur artisanale et à sa sonorité unique.

Conclusion

Bien que le handpan et le hang drum partagent des racines communes en tant qu'instruments de percussion en acier, ils ont évolué pour présenter des caractéristiques distinctes qui les rendent uniques dans le paysage musical contemporain.

Que vous soyez attiré par les harmoniques douces du hang drum ou la polyvalence expressive du handpan, ces instruments continuent d'inspirer les musiciens du monde entier par leur beauté sonore et leur potentiel créatif infini.

Consultez notre guide d'achat pour choisir entre handpan et hang drum sur Zenapan.com et commencez votre voyage musical dès aujourd'hui.

FAQs

Quelle est la principale différence entre un handpan et un hang drum ?

Le hang drum a une structure en forme de bol avec des notes disposées autour du centre, tandis que le handpan présente souvent une construction en forme de soucoupe avec des notes disposées de manière plus complexe.

2. Quelles sont les applications musicales typiques du hang drum et du handpan ?

Le hang drum est souvent utilisé dans des styles méditatifs, ambiants et ethniques, tandis que le handpan s'étend à des genres contemporains comme la musique du monde, l'électronique et le jazz.

3. Comment choisir entre un handpan et un hang drum ?

Choisissez en fonction de vos préférences sonores, de vos styles musicaux préférés et de la disponibilité des instruments. Essayez de tester différents modèles pour trouver celui qui correspond le mieux à votre style de jeu.

4. Quelles sont les techniques de jeu recommandées pour le handpan et le hang drum ?

Les techniques de jeu incluent le tapping, le hammering et les glissandi, adaptées pour explorer les possibilités sonores uniques de chaque instrument.

5. Où puis-je acheter un handpan ou un hang drum de qualité ?

Vous pouvez trouver des handpans et des hang drums de qualité chez des fabricants réputés ou sur des plateformes en ligne spécialisées dans les instruments de percussion en acier.

[gasparodasalo]

Ludwig van Beethoven (1770-1827) - Overture from "Die Geschöpfe des Prometheus" in C-Major, Op. 43. Performed by Monica Huggett & Roy Goodman/The Hanover Band on period instruments.

[burlveneer-music]

Intercommunal Free Dance Music Orchestra - L’Inter Communal and Le Musichien, Souffle Continu Records reissues of albums from 1978 and 1983

The Intercommunal Free Dance Music Orchestra was created in 1971 by an “old hand” of French free jazz, François Tusques. Free Jazz, was also the name of the recording made by the pianist and other like-minded Frenchmen (Michel Portal, François Jeanneau, Bernard Vitet, Beb Guérin and Charles Saudrais) in 1965. But, six years later Tusques had had his fill of free jazz. After having wondered, together with Barney Wilen (Le Nouveau Jazz) or even solo (Piano Dazibao and Dazibao N°2), if free jazz wasn’t a bit of a dead end, Tusques formed the Inter Communal, an association under the banner of which the different communities of the country would come together and compose, quite simply. If at first the structure was made up of professional musicians from the jazz scene it would rapidly seek out talent in the lively world of the MPF (Musique Populaire Française).{French Popular Music, ndlt} Compiled of extracts from concerts given between 1976 and 1978, L’Inter Communal is not the first album from the Intercommunal Free Dance Music Orchestra. But it is the one which shows with the most exuberance the “social function” which inhabited free jazz and popular music at the time. All the more so as, to head up the project, the group (made up of wind instruments: Michel Marre, Jo Maka, Adolf Winkler and Jean Méreu) called upon Spanish singer Carlos Andreu. Andreu, claimed Tusques, was a griot “who created of new genre of popular song improvised with our music, based on events going on at the time”. As with L’Inter Communal a few years earlier, Le Musichien follows on from the group of varying musicians that Tusques had conceived as a “people’s jazz workshop”. In 1981, at the then famous Paris address, 28 rue Dunois, the pianist sang with his partner Carlos Andreu an “afro-Catalan tale”. Over a slow bass line (exceptional work from Jean-Jacques Avenel) backed by percussion from Kilikus, saxophones (Sylvain Kassap and Yebga Likoba) and trombone (Ramadolf) which presented a myriad of constellations. The sky has no limits, let’s make the most of it. The following year, at the ‘Tombées de la Nuit’ festival in Rennes, bassist Tanguy Le Doré would weave with Tusques the fabric on which would evolve an explosive “brotherhood of breath”: Bernard Vitet on trumpet, Danièle Dumas and Sylvain Kassap on saxophones, Jean-Louis Le Vallegant and Philippe Le Strat on… bombards. With hints of modal jazz inspired by Coltrane or Pharoah Sanders, the Intercommunal Free Dance Music Orchestra is an ecumenical project which speaks to the whole world. 

[rachaelmayo]

This was a tour de force from 2012 that features several of my DeviantArt friends' Predator characters. It was a trade with the owner of the character placed in the middle, and the harp-like instrument was what she requested that her character play. The rest of the characters got whatever was floating through my head at the time, with a little basic input from the owners.

My character Chaunn is on the left with the toothy wind instrument. Her dad, Khan'nai, plays something like a mandolin. The trio on percussion are three boys with whom I'd worked on a couple of different art trades apiece, so I knew their characters pretty well (and yes, the drums, tambourine, and maracas fit their personalities). The lady on the lower right was a hard call, but said she wanted a horn of some kind. The less colorful players in the background are just fill-in characters.

The fuzzy beast sitting at the central character's feet is from my own headcanon. It's called a pfaukal, and yes, the similarity to a certain Yautja swear-word is deliberate. It's something like cockatoo software running on housecat hardware.

This is a fairly large image at about about 15x20 inches. I used Prismacolor pencils over an ink drawing and watercolor wash. I think it's one of my better efforts, and I'm still proud of it more than ten years later.

[dustedmagazine]

Rail Band — S-T (Mississippi)

“Marabayasa” is a groove that transcends time and geography, a monstrous monolith of funk that follows a pied piper’s sax through strutting, swaggering, stop-motion syncopation. The singer, Malian legend Mory Kanté leads an exuberant call and response, his fluid, note-bending salvo met with an echo so rhythmic, so hip swaying that it commands motion. The guitars are high and golden-toned, the piano insistent on the offbeats. When Kanté launches an instrumental break with a reverberating “waa-aa-aah,” you feel that you’re there in the heat of it, sweating and grinning.It’s the standout track on the Rail Band’s 1973 debut, a record of scorching power and body-tingling joy, performed train-side at the Buffet Hotel de la Gare. The Rail Band, you see, was the state-sponsored musical outfit of the Malian railroad.

That 1970s band included both Kanté and Salif Keita singing, Tidiani Koné on trumpet and saxophone, Djelimandy Tounkara on guitar and numerous drummers, merging traditional African sounds with mambo from Cuba, and funk, soul and jazz from America. They played five nights a week at a café in the rail station in Bamako to locals, expats, visiting businessmen and travelers. To judge by this album, it was a hell of a way to while away the hours until departure, much better than airport CNN feeds, so good that you might decide not to leave.

Consider, for instance, the fluid big-band wallop of “Moko Jolo,” this one with Koné on trumpet and sax both, both horns floating in a haze over an impacted, side-shifting beat. Percussion, on the kit and played by hand, takes the foreground in “Nantan,” setting a wandering rhythm for guitars to snake through, a shifting, phantasmagorical foundation for shadowed group vocals, the sound of distance, heat and longing baked in. It’s all very fine, intricate but physically stirring, full of skill but inflamed with feeling. Still after a while, you might find yourself turning to “Marabayasa” again, because it cooks so hard.

Jennifer Kelly