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Idiophones produce their sound by the vibration of the entire body of the instrument. Some idiophones, such as marimbas or vibraphones, are composed of several vibrating bodies combined into one instrument. To produce sound, they may be struck, scraped, shaken, or stroked.
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Idiophones:
- Non-Pitched Metal Instruments
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Non-Pitched Wooden Instruments
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| Pitched Mallet Instruments | |||||||||||||||||||||||||||||||||||||||||||||||
| Xylophone (xyl.) |  |
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| The xylophone was the first mallet instrument to find a permanent place in the orchestra. It's composed of a set of wooden bars of various lengths arranged similarly to a piano keyboard. Most modern xylophones have resonators below each wooden bar to add "fullness" to the instrument's normally hard, brittle sound; single notes are of very sharp articulation and have little sustaining power. If a note is to be sustained, the player must roll it with two mallets; therefore, the most successful passages use rapid or single notes, adding sharpness to similar passages played simultaneously by other instruments in the orchestra. Back to Top |
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| Marimba (mrb.) |  |
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| A direct descendant of the xylophone, the marimba has the same compass of four octaves and bears a very similar appearance to its ancestor, though it produces sounds ranked an octave lower than the xylophone. The rosewood bars are thinner, longer, and wider than those of the xylophone, and resonators have always been a part of its construction (unlike the xylophone, which originally didn't include them). Playing technique is exactly the same as the xylophone, but the deeper sound has created a different kind of music. Most marimba players use two mallets in each hand (though a few are even able to manipulate three per hand), making it relatively easy to roll larger chords characteristic of the instrument's repertoire. Though it is only now coming into its own as a part of the contemporary orchestra, composers have written extensively for the marimba since 1950. Back to Top | |||||||||||||||||||||||||||||||||||||||||||||||
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| Vibraphone (vibs) | |||||||||||||||||||||||||||||||||||||||||||||||
| The vibraphone is essentially an American invention, though it is considered to be vaguely related to the glockenspiel thanks to its metal bars. It is the only mallet instrument that uses vibrato or tremolo produced by a series of electric fans found on top of the resonator tubes. Its bars are arranged in keyboard fashion and are playable with the motor on or off; using the latter, there is no added vibrato, causing the sound to have a limited sustaining span and a tone that sounds similar to a struck tuning fork. The speed of the motor is controllable and can be set to produce vibrations running from very low to very high frequency; vibraphone scores should include precise instructions regarding the motor (off or on, and what speed to set it to if on). The vibraphone also uses a foot-operated pedal used in sustaining and dampening the pitch of the instrument; tones will ring only when the pedal is depressed. Vibraphones can be found in three sizes, the largest and smallest of which are available in the majority of professional organizations. Back to Top | |||||||||||||||||||||||||||||||||||||||||||||||
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| Chimes (chm.) | |||||||||||||||||||||||||||||||||||||||||||||||
| Chimes in orchestras are often called tubular bells; they're a series of cylindrical brass tubes of various lengths hung on a wooden or metal rack, arranged chromatically. While they can come in sets of eighteen, most American orchestral chimes consist of twenty bells. The sound of the tubular bells simulates that of a church bell, and they come with a sustaining pedal operated with the right foot. The volume of the bells can be manipulated by changing the mallets used in playing; soft sounds can be produced by using a rawhide mallet, while wooden or metal mallets are often used for louder sounds. The chimes are equally effective in both circumstances. Back to Top | |||||||||||||||||||||||||||||||||||||||||||||||
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| Crotales | |||||||||||||||||||||||||||||||||||||||||||||||
| The crotales are a set of small metal discs three to five inches in diameter, either mounted onto a wooden board shaped like a piano keyboard or held by a leather strap. They can be played with a metal mallet or by striking one against another like cymbals if hand-held. The instruments actually produce a sound very similar to that of the glockenspiel, but with a less piercing tone when struck together. Back to Top | |||||||||||||||||||||||||||||||||||||||||||||||
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| Steel Drums | |||||||||||||||||||||||||||||||||||||||||||||||
| The term "drum" is rather a misnomer here, since the steel drums are not actually drums at all. They are created using the top portion of a large oil can -- i.e., a metal head on a metal shell. The top is heated until it becomes slightly concave, then incised into different sections, each of which is tuned to have a different pitch by hammering the indentations appropriately. Sound is produced by striking the sections with a soft mallet. A group of steel drum players may play together in a steel band; most composers have yet to use the instrument much, unless it is used to invoke the folk life of the Caribbean, where the instrument originated. | |||||||||||||||||||||||||||||||||||||||||||||||
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| Back to Top Back to Percussion Instruments Index |
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| Non-Pitched Metal Instruments | |||||||||||||||||||||||||||||||||||||||||||||||
| Cymbals (cym.) | |||||||||||||||||||||||||||||||||||||||||||||||
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| The cymbal is a curved metal plate with a raised cup or bell in its center. There are actually three parts to this bell, and it's important to know the nomenclature involved in the event that a composer wants to specify where a certain sound should be produced. The outer-most area of the cymbal is known as the rim or edge. The are in between the center and rim is called the bow, and the raised center area of the cymbal is called the cup or dome. Cymbals are made in at least three sizes, but more are usually obtainable should a composer require more. They generally come in 10-14 inches, 15-18 inches, and 19-24 inches.
It's also important to note that there are a number of different types of cymbals, including: Crash - Produce a lingering "splash" sound. Suspended - As the name implies, these cymbals are suspended from a strap on a stand. Hi-Hat - These are not often used in orchestra except to simulate the drum set of a jazz combo; the instrument consists of two cymbals facing one another mounted on a metal rod, and activated by stepping on a foot pedal that crashes the two together. Finger - A pair of small metal plates ~2 inches in diameter that are struck together. Each one produces a definite pitch, but the two combined obscure each other's pitch, allowing the instrument to easily blend into pitches around them. Back to Top |
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Crash Cymbals
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| Suspended Cymbal | |||||||||||||||||||||||||||||||||||||||||||||||
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Hihat
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Finger Cymbals
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| Triangle (trgl.) | |||||||||||||||||||||||||||||||||||||||||||||||
| This is one of the oldest nonpitched percussion instruments in the orchestra. Probably of Turkish origin, the triangle was favored as an instrument in early opera. It's basically a round metal rod bent into the shape of a triangle and played with a small beater by striking or rolling. Several sizes are available: 6-inch, 8-inch, and 10-inch are the basic variations, with each producing a graduation of high, medium, and low. Though it can be played softly or loudly, the triangle can become tiresome or intrusive when played loudly at length; softer tones are often preferred. Back to Top | |||||||||||||||||||||||||||||||||||||||||||||||
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| Anvil (anv.) | |||||||||||||||||||||||||||||||||||||||||||||||
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| As one might guess, this instrument attempts to simulate the sound of a blacksmith's anvil being struck. It was quite popular in the late 19th century, used by numerous 19th and 20th century composers including Wagner, Bloch, and Foss. A relatively simple instrument, the anvil is a large steel block struck by a metal hammer, and any similar object can be used as a replacement if an orchestra doesn't provide a manufactured anvil. Back to Top | |||||||||||||||||||||||||||||||||||||||||||||||
| Cowbells | |||||||||||||||||||||||||||||||||||||||||||||||
| While actual cowbells are often used in Europe, in America they are manufactured in various sizes for the specific purpose of orchestral playing. These sizes range from about three to ten inches, are somewhat triangular in form, and are usually bronze-plated. The pitches of the low, medium, and high sizes doesn't actually vary greatly; cowbells are more often used in Latin American dance bands than in symphony orchestras. Back to Top |  |
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| Tam-Tam (t.t.) and other Gongs | |||||||||||||||||||||||||||||||||||||||||||||||
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| There is much debate by musical experts over the classification of the tam-tam and other nonpitched gongs versus the authentic gongs of Asia, which are tuned to a definite pitch. While usually considered the largest gong, many believe that classification of the tam-tam to be a dangerous one thanks to its lack of such a defined pitch. The tam-tam is struck with an especially large beater called a tam-tam beater, whereas other gongs are typically played with a timpani mallet or slightly thicker beater. Back to Top | |||||||||||||||||||||||||||||||||||||||||||||||
| Wind Chimes (w.ch.) | |||||||||||||||||||||||||||||||||||||||||||||||
| While wind chimes can be found in widely varying materials and flavors (such as bamboo, glass, and metal), they're all based on the same principle: the suspending of various sizes of cylinders in a method similar to the construction of a mobile. Chimes are struck by the hand and jangled until the hand stops them again. Bamboo or wooden chimes can alternatively be stroked by a small wooden stick or quickly grasped together to produce a sudden, loud, dry sound. The quality of sound produced by wind chimes varies depending on the material, with glass chimes producing very high, delicate jingles, and metals creating a more blatant sound. Back to Top | |
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| Sleigh Bells (sl.b.) | |||||||||||||||||||||||||||||||||||||||||||||||
| Sleigh bells are used for holiday music or any type of music where you want to evoke the sound of a horse and carriage. Also known as jingle bells, the instrument consists of several small contained thin metal bells with metal jingles inside. The bells are circular with slits in the side so that you can hear the jingles inside. They are usually attached to a leather strap. Back to Top | |||||||||||||||||||||||||||||||||||||||||||||||
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| Bell Tree (bl.t.) | |||||||||||||||||||||||||||||||||||||||||||||||
| The bell tree consists of a stack of metallic rounded discs that are attached to a wooden stick. The bells are stacked in order from lowest to highest, giving the appearance of a tree, and hence the name. The bell is used for special effects similar to the way wind chimes are used. Back to Top | |||||||||||||||||||||||||||||||||||||||||||||||
| Brake Drum (br.dr.) |  |
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| Brake drum are hollow metallic drums, usually with a hole in the top and no bottom. They are played with metal beaters and give an effect similar to that of the steel drum, or if you could imagine a very large crotale. Back to Top | |||||||||||||||||||||||||||||||||||||||||||||||
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| Thunder Sheet (th.sh.) | |||||||||||||||||||||||||||||||||||||||||||||||
| The thunder sheet has a very specific use, which is to simulate roaring thunder (though a similar effect can also be produced through some of the lower-pitched membranophones like the bass drum or the timpani). Back to Top | |||||||||||||||||||||||||||||||||||||||||||||||
| Rachet (rach.) | |||||||||||||||||||||||||||||||||||||||||||||||
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| The rachet is a percussion instrument with a winding handle and a metal flap that is made to vibrate when the handle is wound and the flap is repeatedly struck as the rachet turns. Back to Top | |||||||||||||||||||||||||||||||||||||||||||||||
| Back to Percussion Instruments Index | |||||||||||||||||||||||||||||||||||||||||||||||
| Non-Pitched Wooden Instruments | |||||||||||||||||||||||||||||||||||||||||||||||
| Wood Blocks (w.bl.) | |||||||||||||||||||||||||||||||||||||||||||||||
| Wood blocks are made from rectangular pieces of hard wood and produce a penetrating, dry sound. They come in sets of three to five sizes, with larger blocks producing lower pitches. The blocks are especially well suited for fast, exciting passages and rolls. A wide variety of beaters can be used effectively, including drumsticks or marimba, wooden, plastic, or rubber mallets. Back to Top |
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| Temple Blocks (t.bl.) | |||||||||||||||||||||||||||||||||||||||||||||||
| Temple blocks are a series of five clam-shaped wooden blocks mounted on a stand, usually painted red and of Far Eastern origin. Playing technique and beaters used are the same as for the wood blocks, but the temple blocks produce a more resonant, mellow sound. However, they are still well-suited for the same fast passages as the wood blocks. Back to Top |  |
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| Claves (clav.) | |||||||||||||||||||||||||||||||||||||||||||||||
| Latin American in origin, the claves are an instrument consisting of two round hard wood pieces, each around an inch in diameter and about six inches long. One clave is cradled in one hand on the fingers of a loose fist while the other strikes it with the other hand. (The cupped hand acts as the resonator for the instrument) The sound produced is similar to what might result from striking the highest wood block with great force, but with a bit more resonance and a slight "ping" to it. In orchestras, it has been used as an alternative to wood or temple block sounds or to reinforce short chords. Back to Top |  |
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| Castanets (cast.) | |||||||||||||||||||||||||||||||||||||||||||||||
| Most likely of Mediterranean origin, the castanets have existed for hundreds of years -- some Spanish and Italian composers even wrote concertos for them during the 17th and 18th centuries. They are often used in the orchestra to recall images of Spain or suggest Spanish subjects. More recently, they've also been frequently used to emphasize rhythms and reinforce sharp attacks. Castanets are made of a pair of small, hardwood, spoon-shaped shells that are struck together. They come in three varieties: hand castanets, paddle castanets, and concert castanets. Hand castanets are rare in orchestras as they require considerable skill to play, but the other two are more common. Back to Top |  |
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| Maracas (mrcs.) | |||||||||||||||||||||||||||||||||||||||||||||||
| Another Latin American instrument, the maracas usually come in pairs, although one can often suffice if being played in a non-South American context. The instruments are made of gourds or wood/plastic shells filled with pebbles or seeds. It can be shaken or slowly twirled (called "stirring") -- the latter method can often be very effective. Maracas can also be tapped with one hand to produce a short-note effect. Back to Top |  |
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| Guiro | |||||||||||||||||||||||||||||||||||||||||||||||
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| The guiro is a large bottle-shaped gourd, with one serrated side upon which a wooden stick or scraper is scraped back and forth. It is, of course, used quite a bit in Latin American dance bands, but many composers have used it to replace the European ratchet or rattle. Single strokes and rolls are possible. Back to Top | |||||||||||||||||||||||||||||||||||||||||||||||
| Whip (wh) | |||||||||||||||||||||||||||||||||||||||||||||||
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| The whip is made with two flat sticks of wood. One stick is hinged to the other about a third of the way up. When the two sticks are slapped together, they simulate this sound of a whip. Back to Top | |||||||||||||||||||||||||||||||||||||||||||||||
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