Necessary Features of the Xylophone: A Unique Marching Instrument - Essay Example

?Necessary Features of the Xylophone: A Unique Marching Instrument Section First Thing about Xylophones Vienna Symphonic Library (VSL) a) stated that “xylophone” comes from Greek words xylon, which means wood, and phone, which means sound. Xylophones, mainly made of wood, are viewed to be one of the earliest sound-producing instruments known to man because of the infinite evidences portraying their usage in the ninth century. Locating the exact place of their origin, these were known to have originated first in Asia. Reaching to Africa, it is in the west that these were fully embraced and used even until now. The rich culture of Western Africa includes the way people perceived them having a unique role in their society (Maxwell, n.d.). Eventually, they spread to all the other parts of the world. Many authors, philosophers, and musicians from Europe applied the name in their works. One European painting, renowned to have first portrayed the idea of these instruments, was by Hans Holbein in 1523, entitled Dance of Death. However, it was not later than nineteenth century that these were conceived as instruments for the orchestra (VSL, 2012a). Historians have varied suggestions as to where xylophones originated; however, it all goes back to the idea of man’s tendency to grasp two unlikely objects, pounding them together, thus creating and producing sound. The idea may be associated to other percussions such as gongs and drums because apparently, according to VSL (2012b), xylophones belong to percussion family. Specifically, xylophones are clustered to a percussion group called “mallet” where other instruments like “vibraphone,” “celesta,” “marimba,” and “glockenspiel” also belong. Among the group, these are the most popular and, since all tends to be of the same appearances, all the others are often mistaken to be xylophones (All About Mallet Percussion, n.d.a). In the website Oracle (n.d.), xylophones are identified to produce melodious sound coexisting with the “harp,” making them substantial to Dance Macabre in 1874--the first to use xylophones in an orchestra by Camille Saint-Saens. Xylophones were played, up until now, by hammering series of woody bars aiming to produce the sound. People who are fond of playing percussion instruments vary with the use of “mallets.” The ones intended for xylophones are made for flexibility and hardness, depending on what tone is desired. These are usually small in order for them to fit directly into the ascending bars, which produce the lowest to the highest note (VSL, 2012b). It is also for an easier grip that can help one hammer faster--making xylophones ideally useful for learning, as well as for fun to children of all ages. Xylophones were modified through times--from its prehistoric and simple image of two wood-bars placed on a “player’s legs” (All About Mallet Percussion, n.d.a) to their modern look of having above-the-knee high wheel-stand and consisting shiny wood-pieces of varied lengths arranged in rows. Some are actually made up of plastics these days and are used as toys (Symes, 2012), which literally have distorted the idea of wood-made xylophones; but in order to give kids the safest way of learning to play the instrument, the act has been tolerated. Wood-authentic xylophones are more expensive compared to colourful plastic-made ones and are perceived to exist only at certain tribes. In African tribes, according to Maxwell (n.d.), men are most likely seen to be playing the wood-made xylophones rather than women. Older men who are often most respected are the ones playing the instrument, while the women, accompanied by younger men, dance and do the rituals with it. Some are singing--and hum as well, accompanied by the xylophone player while others are doing strange movements using their body. Aside from using the instrument in their rituals and dances, entertaining their folks and keeping a solid bond amongst each other also make them necessary for amusement. Xylophone players of each tribe are even considered entertainers and performers, and to become one, aside for only being a man, there is a rule to be considered. Interestingly, some groups in Africa are still adhering to such rule, which is basically based on myth--their story on the first discovery of “balafons” meaning xylophones. If one wants to be a musician and does not fit to the category of the rule, he can play other instruments except the xylophone (Maxwell, n.d.). Realising that xylophones play an important factor in the history of music, it is odd not to have heard any known music having “xylophone” as the major instrument in producing melody (All About Mallet Percussion, n.d.a). Most people these days tend to play the piano or guitar instead, without having a single appreciation to xylophones, maybe because these diverse instruments lack the vibrancy of the melody in their produced tone; though they tend to play an octave like any other instrument, their stillness makes the difference. Although xylophones are not that appropriate for leisure listening, to eradicate the presence of these instruments in a band is totally unimaginable. Xylophones in a marching band are like the lyrics of a song. Without the lyrics, the song will be all melody, and it does not sound appealing. Without the xylophones, all the rhythms created by other instruments blend in, but no other sound tend to stand out. It is the produced tone of the xylophone, together with the wind instruments, that creates emphasis in the tempo and rhythm of music in a band. That is why, to really appreciate the music xylophones produce, more often these are just being played in marching bands and orchestras where these are accompanied by all other instruments. When it comes to musical groups forming into famous bands, spectacular shows presented in orchestras, and soulful music played together with varied musical instrument, one name reigns--the Royal Marines Band. Towards the cascading leap of excellence through training students in attaining their accepted standards, this results Royal Marines Band to a widespread of recognition being the “most versatile” in the musical world of military (Blue Band, 2012). Classical sounds of their bands are usually the marches according to Orchard (2011). This makes a very good example of marching bands creating superb sounds with the use of instruments--the xylophones, for example. Presenting a whole new range of sound gives one the joy of making the audience to appreciate and show their love of music. Even an ordinary music lover tends to crave for wonderful music; that is why creating the good sound--music using any kind of musical instrument perhaps, needs more than just the talent, the passion, and the hunger to make it happen but also the skill on how to do it. The history and background, even to smallest details, can help one gain knowledge necessary in acquiring the skill to create music. Section 2: Exploration of Songs and Composers of Xylophone The idea again is that xylophones are entirely used as instruments for creating music, but the music is so unique that people never heard it over the radio or being sang by common cliques and groups for leisure. Moreover, the music can only be mostly appreciated in tribal gatherings, marching bands, and orchestras, or maybe in recitals, as well. It is restrained to these events solely because the instrument itself is limited only in producing its unique sound. According to VSL (2012c), the typical “range” of today’s xylophone played in an orchestra differs “between three and four octaves.” Figure 1 below illustrates the ranges of notes played by the xylophones. Having only these as choices in creating songs makes it possible to create a much more melodious music without the help of other instruments. Figure 1 Though one may say composing xylophone-based songs is easy because it is like mixing notes and beats, it is actually difficult since the composer is bound to just either play the different but unvarying notes to a faster or slower beat or tempo, depending on the mood of the composer or the targeted audience. If the beat tends to be faster, it requires jolly movements while if it is slower, the feeling is indifferent but can never show total unhappiness. That is why exploring to compose songs with the use of such instrument is also limited; thus, talking about repertoire of xylophones is like cupping marbles--there are just a handful of them. Furthermore, in a recent study conducted by Schutz (2008), there was that difficulty for music writers to compose songs, specifically “sad” ones, with the use of “xylophones” and other “mallets” due to the fact that these instruments cannot produce sounds associated to the feeling of “sadness” which tends to be melodramatic. Such instruments are more likely to produce upbeat and lively rhythm thus creating a sense of enjoyment rather than the opposite feeling. This even narrows down the lists of works and songs that concern to the usage of “xylophones.” The Two Imps composed by Kenneth Alford is one example of song which a xylophone can be of use. It is widely used in marching bands, even by Royal Marines Band, because of its lively beat, and at the same time, it is easy to play. In addition, one of the lists of composers and their songs can be taken from the same study of Schutz (2008). In the list, there were only sixteen songs for xylophones from six composers, namely Bob Becker, Harry Breuer, George H. Green, Alan Hovhaness, Fritz Kreisler, and Thomas Pitfield. Considered as most commonly played songs during “recitals,” the songs were thoroughly selected by the researchers of the study, making the list valid for commentary. The songs are as follows: Bye Bye Medley and Girlfriends Medley by Becker; Back Talk by Breuer; Chromatic Fox Trot, Cross Corners, Jovial Jasper, Log Cabin Blues, The Whistlers, Valse Brilliant, and Xylophonia by Green; Fantasy on Japanese Woodprints by Hovhaness; Tambourin Chinois by Kreisler; and Sonata for Xylophone I-IV by Pitfield. Based on the result of the study, all songs except Fantasy on Japanese Woodprints and Sonata for Xylophone (IV) do begin and end in “major” tones considering that xylophones are bound to only major and minor tones like that of the piano keys. Section 3: Contributions of Great Xylophone Players There has to be the need to continue using xylophones even if other look-alike instruments have flourished. The use of the percussion in America, specifically the xylophone, believably started late eighteenth century and early nineteenth when there was the need for an entertainment eventually called “Vaudeville.” The event paved way for entertainers to make renditions of their music while playing musical instruments; thus, making a lot of people to focus on xylophones than any other instruments (All About Mallet Percussion, n.d.b). One in the name of Bernard “Sogolinso” Woma, a xylophonist in Ghana, had been destined to be a xylophone player notwithstanding any African rules. He was “predestined” to such thoughts when he was just being born. Having that awkward position of his hands pronounces his future to dedicate his entire self in playing the said instrument. That striking moment did not made him remarkable today but the hardships of practising it almost all his life starting when he was just two years old. Now, he does not just play for his tribe during social gatherings or traditional rituals, but for the entire audience being an international artist (Maxwell, n.d.). George Hamilton Green, George H. Green in the list of repertoire, is another famous xylophone player. He was perceived to be amongst “the greatest musicians in percussion history.” His contributions include writing pioneered “compositions,” “arrangements,” and “designs,” which are all fitting to any kinds of music style being depicted in xylophone-playing. All his works paved way for him to become famous in this kind of genre (Lewis, 2009). He was good at the field because even at a very young age, he had shown great potential in music and was even known as “piano prodigy” in 1897 (Meredith Music Publications, n.d cited in Lewis, 2009, p.10). Last to mention for having xylophones as their instruments for entertainment is Ian Finkel. Zeltsman (1999) tagged him as “the world’s busiest xylophonist.” Stuffs, mostly musical--all his recent performances, that were shown in her article proved it. One thing Finkel wants other aspiring “xylophonist,” even to those aspirants of other instruments for solo, is to bear in mind that one cannot be that good at two or more instruments. The idea is to put all the passion in one instrument, and proceed to nurturing and developing one’s talent at the same instrument for excellence. He has chosen xylophone as his solo act because his music--upbeat and lively, coincides most likely on it (Finkel, n.d cited in Zeltsman, 1999, p.68). There may be conditions when playing xylophones but one thing is sure: there should be the desire to play it. Some may have been born and would rather give his entire life in playing it, some may aim to create and teach this creation to those who share the same liking of playing the instrument, and even some may have the slightest intention of sharing one’s talent by making every performance legendary, but it is the passion that counts. This instrument would have been long forgotten if it were not because of people who continued and tried playing it--sharing the joy of pounding while combining the right tones. In the end, it is not on what kind of instrument was used to express one’s talent but in keeping the desire in what one plays. Section 4: Listening to Various Xylophone Recordings Inspired with the great works of the abovementioned xylophone artists rises the need to listen recordings of their actual performances, even of other players, as well. Seeing aspiring xylophonists playing songs composed by well-known composers, and hearing xylophone versions of Rolling in the Deep, Smoke on the Water, down to simple songs like Happy Birthday make it possible to appreciate the beauty of xylophone in a day--thanks to technology. A song composed by Fritz Kreisler and arranged by George Hamilton Green entitled Tambourin Chinois--found in the above list of repertoire, was played over the xylophone by Bart Elliot during his junior recital in West Texas State University in 1985. The rendition was accompanied by Risa Kanaoya in piano. As observed, an intro was made by the pianist, giving the cue for the xylophone to play. The tempo was very fast, tends to get faster until it gradually faded, then the entire routine was repeated making the song as lively as it can be. The whole performance was in continuous upbeat thus making every striking moment magnificent. The xylophonist, having perfectly memorised the piece since music sheets were not used, was so brilliant one cannot even notice that the performance ended (Tambourin Chinois | Bart Elliot - Xylophonist [1985], 2009). Another song of Kenneth Alford is entitled Sparks. The soloist was Mary Kasprzyk with the Syracuse University Brass Ensemble and James Spencer as the conductor. During the performance, the xylophone had a greater role compared to other instruments used since it played the cue, and the whole music was dependent on the music created by the xylophone. One mistake from the xylophonist would really crash the whole performance; good thing the player did very well. Compared to other groups and orchestras who also did this Alford’s piece, their performance was done with precise timing (Sparks [Kenneth Alford] - Xylophone Solo, 2010). Definitely, xylophonists tend to have the power to convert concentration to perfection. Their talent--concentrating which wood to strike next, thinking over it very quickly, and acting it out perfectly without much hesitation, is quite fascinating but were not acquired in an instant. There was the need to practise many times a day for them to be able to achieve such perfection. After listening to both songs, to imagine what will happen if both players did not practise and master the piece before their performances--it will not be that successful. Delivering the piece confidently just shows how prepared they were during their performances. Both will also be unsuccessful without other accompanied instruments such as piano and the whole band. Nevertheless, it is good to emulate the value of practising really hard, devoting plenty of hours a day for practice, to achieve that sense of success. By practising, one can be able to develop his/her concentration more, so memorising the entire piece will be easy. It is also wise to create a performance using the help of other percussions, giving equal practice to all instruments. Section 5: Creating a Programme The idea of making own renditions, alongside thorough studies, is an opportunity to practise intended skills. Hence, it is vital to have this programme: beginning with the use of snare drum playing Michael Skinner’s Tamburo, succeeding progressive comping by the drum kit for Funk One of David Hassel, working next with a xylophone to escalate rhythm romping Kenneth Alford’s Two Imps, and finally engaging Dvorak’s Carnival to timpani for harmony. Section 6: Reasons Behind Selected Pieces Performing own versions of well-known pieces using musical instruments takes a lot in knowing all the pieces--familiarising notes and measures of the song, to mentally performing them through memorisation. This demands time of practising the songs over appropriate instruments--getting to the actual hands-on skill, to be done not just once but as soon as performance is tremendous enough. Since there was a plan to combine these selected pieces in a solo performance, giving each of the songs a connection must take great consideration. It may take awhile finding appropriate songs and connecting them harmoniously since this depends on the player’s own liking, as well as his own interpretation to the pieces. So basically, although the pieces mentioned in the programme may not be that famous, all of them were thoroughly and personally selected giving that sense of connection between each song and to the performer. The order of the pieces was actually based on the instruments’ tendency to vary in producing own sounds. Though all instruments were played by striking since all are percussions, the way to strike each of them varies depending on how they are to be played in the piece. The snare drum is best for rudiments since it produces sleek yet fancy rhythm while all others are intended for the continuity of the performance. Since the drum kit has the ability to create comping rhythmic styles such as the quick-step jazz, it was best for it to accompany the snare drum next. Xylophone also has the tendency like that of the drum kit--good at creating the appropriate rhythm; that is why the piece for xylophone, which gives the liveliness of the whole performance, is being played next to drum kit. Regarding the order of the instruments to be played, it should be the mastered instrument that is given the most role for a better performance; that is why, the timpani, which is much harder to play among all other instruments, was played lastly though it has also given its own final touch of the whole performance. The programme itself is appropriate enough to brag an outstanding talent and is deemed to be balanced--demonstrating varied techniques that can enhance one’s skill in playing all the said instruments, and at the same time, all pieces have provided great enjoyment not just for the listeners of the performance but for the player, as well. It has also demonstrated differences in the handling of each instrument in which have shown that it is the xylophone which is better played compared to all others. If given the freedom, the order of when and what instrument to use first will stay the same since there is already the continuity of the songs, as well as the harmony among the instruments. If there is something to be changed, it would be the performance itself since it could have been best, and yet it settled to be better. However, this gives room for improvement and the value of contentment, and that makes the difference. Section 7: Evaluation and Self-Reflection of Processes In the preparation phase of my solo performance, I did some research on songs that are appropriate for the instruments in my category. I was able to listen to different recordings of snare drum, drum kit, timpani, and xylophone hence appreciating them more but when choosing the songs, it goes down to the way I perceived music. Truly grateful, the lessons discussed and given by my professors have helped me in creating the right programme for my performance which was based on the kind of taste I have in music--considering my unique personality. With this, I was also very hopeful that I can play them perfectly during my examination performance. When I choose xylophone for the history project, I did realise its importance in my performance, and that it is notable for its sound to stand out; thus, I have given my best to it among any given instruments whenever I practise. However, I almost have given equal and undying time to all instruments, though I was not that successful with the timpani--finding it to be very difficult. Anyway, I did find practising as a stress-free routine. I have not taken each practice too seriously; thus, I had fun but I also make sure that I can be able to practise at least everyday for each instrument. During the execution of my solo performance, hopeful that I can somehow manage to deliver perfectly my programme, and to also cope with my nervousness and anxiety to be on stage, I felt confident playing the chosen pieces for the snare drum and drum kit. I was relaxed the whole time I was playing them. Though there were slight changes in the tempo during my snare drum rudiments, I still expect myself to be fearless in the sight reading. Indeed, my whole performance romping the snare drum was amazing in which I was delighted. As for the drum kit, there had been slight mishits on the jazz comping exercise but I managed to keep steady. However, the rhythmic styles I have applied were not that commendable, and I was not even sure about them after the performance. My own way of overcoming stage fright at that time was to think that I can do it successfully without having too much pressure in the execution. Comparing my performances with the xylophone and the timpani, wherein both are despairingly contrasting each other, I had never been so happy playing the xylophone--the research was worth it. Though there were a couple of minors on arpeggios, it was the best I had ever played. I have definitely improved from six months ago of practise at school given such surprisingly well-played sight reading. Despite my improvement in playing the xylophone, I was annoyed with how I went with the timpani. The bottom A was flat and the tuning was unfortunately off-tuned. However, this may deserve a praise for I still have confidently played the timpani’s intended piece. After the examination, I realised that it was best for me not to be discouraged with what my examination had gone through because I know there are still a lot of opportunity for me, that is, if I will continue to persevere and work hard with my passion in music. Whatever happens I should be grateful that I have this talent and ability to play variety of percussions and that I should be able to apply all that I have learned in my future performances. I was even glad that I have improved, which means that I never have missed the chance to correct myself from my past mistakes. I was delighted that I have, in my own right though, have presented my solo performance successfully. (Word Count: 3952) Bibliography Books Lewis, R.C., 2009. Much more than ragtime: the musical life of George Hamilton Green (1893-1970). Ph. D. Columbia: University of South Carolina. Maxwell, H.A. et al., n.d. West Africa: when the xylophone speaks. In: J.C. DjeDje, ed. 1999. Turn up the volume: a celebration of African music. Hong Kong: South Sea International Press, pp.58-67. Websites All About Mallet Percussion, n.d.a. The xylophone. [Online] Available at: http://www.mallet-percussion.com/xylophone.html [Accessed 25 June 2012]. All About Mallet Percussion, n.d.b. Influential mallet players past and present. [Online] Available at: http://www.mallet-percussion.com/musicians.html [Accessed 27 June 2012]. Blue Band, 2012. Information and reference: the Royal Marines Band Service. [Online] (Updated 8 Sept 2011) Available at: http://www.royalmarinesbands.co.uk/reference/index.htm [Accessed 26 June 2012]. Oracle, n.d. Melodic percussion: xylophone. [Online] Available at: http://library.thinkquest.org/15413/instruments/percussion.htm [Accessed 26 June 2012]. Orchard, J., 2011. Comrades Royal Marines Band. [Online] Available at: http://www.amazon.co.uk/product-reviews/B0033RR1WC/ ref=cm_cr_dp_synop?ie=UTF8&showViewpoints=0&sortBy=bySubmissionDateDescen ding#R21PMVD0JFIAEL [Accessed 27 June 2012]. Schutz, M., 2008. The happy xylophone: acoustics affordances restrict an emotional palate. Empirical Musicology Review, [Online]. 3 (3), pp.126-135. Available at: https://kb.osu.edu/dspace/bitstream/handle/1811/34103/EMR000046a-Schutz -etal_revised.pdf;jsessionid=761997BE4CA4626DF30826A0E61AFCFF?sequence=4 [Accessed 2 July 2012]. Sparks (Kenneth Alford) - xylophone solo. 2010. [Video] Available at: http://www.youtube.com/watch?v=VRAyL5ai5Lg [Accessed 28 June 2012]. Symes, S., 2012. Xylophone crafts. [Online] (Updated 2012) Available at: http://www.ehow.com/info_8538333_xylophone-crafts.html [Accessed 26 June 2012]. Tambourin Chinois | Bart Elliot - xylophonist (1985). 2009. [Video] Available at: http://www.youtube.com/watch?v=w-CGzDsk7yg [Accessed 28 June 2012]. Vienna Symphonic Library, 2012a. Xylophone: history. [Online] Available at: http://www.vsl.co.at/en/70/3196/3204/3205/5729.vsl [Accessed 25 June 2012]. Vienna Symphonic Library, 2012b. Xylophone: brief description. [Online] Available at: http://www.vsl.co.at/en/70/3196/3204/3205/5726.vsl [Accessed 25 June 2012]. Vienna Symphonic Library, 2012c. Xylophone: range. [Online] Available at: http://www.vsl.co.at/en/70/3196/3204/3205/5731.vsl [Accessed 2 July 2012]. Zeltsman, N., 1999. Ian Finkel - the xylomaster. Ian Finkel: xylophone virtuoso. [Online] Available at: http://www.ianfinkel.eu/main_bio_2.html [Accessed 26 June 2012] Read More