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METHODOLOGY OF LEARNING PERCUSSION INSTRUMENTS IN
MUSIC LESSONS
Murodaliyev Mukhiddin Marat ugli
Republican Specialized Music School named after R.Glier
Damli va zarbli cholg’ular bo’limi o’qituvchisi
https://doi.org/10.5281/zenodo.11377951
Abstract:
The information presented in this article is useful for developing
the skill of reading sheet music for percussion instruments. During the article,
the rules of formation of the skills of reading sheet music, information on
improving sheet music literacy are discussed.
Key words:
Percussion and percussion instruments, notation, percussion
instruments, sheet music reading, cymbals, marimba, pop music, modern music.
Introduction
:
Interest in music is growing year by year among young students. Including
percussion and percussion instruments. As an example of this, we can see that
the number of people who want to study percussion instruments in music
schools is increasing.
Percussion and percussion instruments are not only our national
instruments, but also foreign pop percussion instruments (xylophone, small and
large drum, timpani, vibraphone, marimba) are becoming very popular in our
country. One of the most popular instruments is the drum kit.
The main parts of the drum set include kick drum, snare drum, hi hat, toms
1-2, floor tom, and cymbals. ) we can enter.
Percussion instruments include another group of percussion instruments
that have a special place in music. Percussion instruments can be the main part
of the melody (with the exception of the improvisation part) or only as an
accompaniment. Of course, the extent to which a piece of music has been
adapted by the author can make the piece pleasing to the listeners or, in most
cases, the opposite. Percussion instruments are the following; Conga, bongo,
shaker, timbale, cowbell, cymbals, tambourine, tam-tam, cabasa, claves, bubin
are among them.
The period of creation and development of musical instruments also has a
long history, and at first these percussion instruments that we know appeared
before all other musical instruments in human life.
Early percussion instruments were used in human life as various signals, to
drive animals, and as invitations. Timpani (drums) and drums have been used in
military marches and ceremonies since ancient times. He performed all kinds of
folk festivals accompanied by dance and song and encouraged the warriors in all
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the military campaigns that took place. With the advent of music, percussion
instruments were gradually included as accompaniment in various orchestras.
They served as the main part of the orchestra, fully revealing the dynamic state
of the work, the strong beat or rhythmic state, and the culminating points.
The development of percussion instruments continued in close connection
with the development of other instruments and groups of the orchestra, as well
as the main expressive means of music: melody, harmony, rhythm. At present,
the instruments of the orchestra's percussion group have greatly expanded, and
the role of the percussion group in general has greatly increased. In an
orchestra, percussion instruments often perform a rhythmic function,
maintaining the clarity and precision of the movement. They also add luxury and
a very unique flavor to the orchestral sound, enriching the colorful palette of the
modern orchestra.
Despite the fact that the melodic tools of percussion instruments are very
limited, often composers skillfully use the uniqueness of the sound of percussion
instruments and entrust them with the most important parts. Percussion
instruments sometimes take an active part in revealing the theme of the work,
and its large form or large part attracts the attention of the listeners throughout
the work.
Percussion instruments are divided into instruments of a certain pitch:
timpani, bell, lyre, pipe bell, vibraphone, tubaphone, marimba, etc. and
unpitched instruments such as the triangle, castanet, whip, maracas,
tambourine, Brazilian pandeira, ratchet, wooden box, drum.
The appearance and structure of the vibraphone, which is part of the
percussion instruments with a certain tone, consists of two rows of metal pieces
drawn on a special wheeled base mold, which are tuned chromatically. The
adjustment paths are made thin or thick in order to create the desired sound of
each of the metal pieces. The metal pieces are stretched on both sides with
special ropes, like xylophone and marimba instruments. There are long and
short pipes for each sound under the sound-producing pieces. They are installed
with special covers and connected with a common metal wheel. A special
electric motor rotates a wheel connected to the blades that open and close the
flaps, which creates a dynamic vibration (the effect of periodic amplification and
attenuation of sounds). A special material is installed under the sounding metal
pieces to control the vibration of sounds. This is connected to a pedal controlled
by the performer's foot. When the pedal is pressed, a special material is pressed
against the sounding metal pieces, stopping their sound vibrations. Depending
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on the essence of the piece, the performer plays the vibraphone with two or
even four specially made flexible reed sticks. Soft balls covered with special
fabric are placed in three of them. This serves to spread the sound softly and
smoothly. Play with seam-coated sticks to get a softer sound. For a more
accurate shot, the sticks are used harder, and when they play without vibration,
the engine is turned off, then wooden-headed sticks covered with woolen thread
are used; the sound is short-lived, approaching the sound of a metallophone.
Conclusion:
At the present time, the attitude towards the group of percussion instruments
has changed qualitatively. It has grown from the most insignificant to a concert
and is on a par with other orchestral groups. In the past, percussion instruments
were used in the general orchestral mass (especially during climaxes and
moments of emphasis). now they are used more independently and in such a
way that their timbres do not mix with the timbres of other instruments.
Percussion sounds are now relatively rare to replicate other orchestral sounds,
and composers prefer their distinct timbres. In conclusion, it can be said that in
learning the sound of each musical instrument, it is necessary to use specific
styles and notation, taking into account the structure and form of the sound.
References:
1.
A. Batashev History of jazz musical culture M.M., 2000.
2.
A. Panayotov Percussion instruments in modern orchestras. M.: Muzyka,
1973.
3.
E. Denisov Percussion instruments in a modern orchestra. M.: Soviet
composer, 1982.
4.
K. Bucher Work and rhythm M., 1923.
5.
L. Ganieva Methodology of piano ensemble music of Uzbekistan. T.: Nishon
noshir, 2016.
6.
R. Gruber History of musical culture. T. I. - L., 1941. - 595 e.; T.P.-M., 1953.
