PERCUSSION
REQUISITE DYNAMICS | Mark Shelton
Imagine a mixed instrumentation ensemble ( e . g ., worship band , symphony orchestra , brass quintet ) with each instrument in proper balance within the group . Every note receives the appropriate degree of volume . Your imaginary group sounds amazing .
Now imagine the same ensemble with every instrument sounding at an equal volume . There is no variance in volume from note to note . It ’ s a dull , sterile , unbalanced collection of timbres . That imaginary performance lacked dynamics . It ’ s a fact : Our ears are accustomed to hearing music with a variety of volume levels .
Command of various dynamic levels allows us to blend and balance within an ensemble . Subtle shadings of volume are vital to producing nuanced phrasing .
Dynamic control across a wide spectrum is a vital part of musical maturity whether you ’ re playing piccolo , pipe organ , or percussion . This article highlights musical situations where dynamic control is especially essential along with tips for improving your dynamic abilities .
ACCENTS The ability to play accents is among the chief means of expression on percussion instruments . Like accents in speech , the extra emphasis on certain notes can drastically impact the meaning of a musical phrase .
Since an accent is typically produced by playing a note at a higher volume level than an unaccented note , it is important to develop dynamic control ( ranging from barely audible to very loud ) on all your percussion instruments . The ability to play a broad range of dynamics coupled with the skill to shift rapidly between different volumes are main ingredients to mastering control of accents .
ALL NOTES ARE NOT EQUAL If the dynamic level is marked with pianissimo ( pp ), it does not mean every note should be played at the same ( very soft ) volume . ( That applies to any dynamic indication whether by notation or verbal direction ). Expressive playing allows for notes to move within a general volume range with some notes being played louder while others are softer .
TONE VS . VOLUME Learn to play a wide range of dynamics with all types of striking implements ( sticks , mallets , brushes , etc .). Understand the difference between tone and volume . When selecting sticks and other implements , your primary consideration should be tone . Don ’ t automatically switch from sticks to bundled rods when instructed to lower your volume — unless that ’ s the tone you desire .
GHOST NOTES While an accented note carries extra emphasis , a ghost note is opposite — a lessening of the sound . These subtle touches can sound like mere whispers of tone , yet they contain power when inserted skillfully . Drum set patterns often include ghost notes to fill space and / or provide musical interest . It is important to adjust volume so the ghost note speaks just enough to have its effect within the greater context .
WARNING : DECRESCENDO AHEAD My percussion instructor at East Carolina University , Harold A . Jones , taught The Jones Rules . One bit of his wisdom dealt with dynamics : Musicians usually perform crescendos well , increasing volume at a gradual pace . However , when playing a decrescendo , there is a tendency to decrease the volume too quickly in the beginning moments of the decrescendo . Heed the Jones Rule and make a smooth , well-timed decrescendo .
GRACE NOTES Small but mighty , grace notes can decorate more important notes , lend a broadening effect , or give extra emphasis . Grace notes can be heard in music for definite-pitched percussion such as marimba , xylophone , and vibraphone as well as being part of both flambased and drag-based drum rudiments . Proper performance of grace and primary notes requires coordination of dynamics as the player rapidly shifts from the softer grace note ( s ) to the significantly louder primary note .
Check out this video demonstrating how positioning will assist in playing grace notes in flam-based rudiments .
Along with the ability to control a wide range of volumes , a musician must also possess the knowledge for applying dynamics .
Listen to live and recorded music , paying attention to the phrasing and balance . Copying the musical nuances of mature musicians ( percussionists and non-percussionists ) is an excellent method for developing expressive abilities .
Developing dynamic control and proper application will lift your playing to a higher level . Get that goin ’!
© 2025 Mark Shelton Productions / Percussion For Worship
Mark Shelton Mark Shelton is a freelance musician , educational consultant , and content creator based in Dallas / Fort Worth . His percussion work has been heard with North Carolina Symphony , Tin Roof Tango , Daystar Television , Gateway Worship , Stonebriar Church , Victory Channel , Wichita Falls Orchestra , Strata Big Band , TALEA , and Dallas Wind Symphony . www . marksheltonmusic . com www . percussionforworship . blogspot . com
82 March 2025 Subscribe for Free ...