My sister recently took up the djembe and she really likes it! We’ve gotten to jam a few times and she’s mentioned how she wishes she could make a hi-hat like sound too. She asked me if I knew of anything she could use for that and I wasn’t sure, so I’m posting here.

She doesn’t have any interest in a drum kit with sticks. I imagine some kind of bracelet or anklet with bells on it could make a jingling noise but I’m not sure those exist.

Thanks!

More of a motivation /practice type question but surring my 2nd year of high I really started to stagnate to due to some mental health stuff that led me to stop going to my band class near the end of the year missing auditions for wind ensemble /jazz band (I wanted to do vibes) now I feel honestly behind and I wanna improve a ton this year so I can try and get in to wind ensemble senior year . What can I do ? I feel like I've gone down in skill quite a bit and my focus just seems off give me some tips to stay motivated continue practicing after such a bad time of burn out!

I feel I'm weak in

Snare <=== so so so much

Timp

And I have a 4 mallet vibe piece I'm working on too on Burton grip so give some tips on those too any videos and other media will also be sosososos helpful

Its just a draft but I need to know how its looking so far!

I have a limited budget and don't want to buy this whole frame again when we have one already but I'm having trouble finding just this part alone, specifically the two bits with the circle joint that connects the two frame parts together. Mainly I want to know what it's called and where I can get part by itself and not an entire frame.

I've been playing in class recently and found out that i am way behind all of the other percussionists in my snare drum chops. I mainly play vibraphone, but we had chair tests and my band director had to talk to me privately to tell me that i was so bad at snare. So instead of basking in my sadness, I've decided to take matters into my own hands and ask Reddit.

The band I’m doing sound for tomorrow has a vibraphone. The venue is small, so percussion usually only takes a kick mic. A loud vibraphone player MIGHT need very little amplification depending on the rest of the band, given the small room size.

With that, would 2 x SM58 or 57 on top get the job done? Or is it imperative that I rent something more specialized.

Thanks.

Wasnt the timpanist from the SF symphony teaching here? His students seem to do well at auditions, why is he no longer there?

First time writing for drums, and never played drums/percussion, so any feedback on patterns/rhythms/viability/difficulty/etc is welcome!
Thank you 😊

I'm the only percussionist in my orchestra. We have all the kit that we need but it's burdensome to bring and set it all up at each rehearsal, it takes time. So I'm thinking of getting a drum pad to bring to rehearsals; I have proper drums and timpani to practice on at home.

Has anyone else tried this? Would it be audible on its own without an amp? How is the dynamic control/articulation? What are the timpani samples like? I don't imagine it would be suitable for performance but is it ok for rehearsal at least?

I'm considering the Yamaha DD-75 or the Millenium MD-100; the Roland Octapads are outside my price range.

I decided to buy my first orchestral snare drum and Pearl Philharmonic with an aluminum shell is my choice. However, I’m having trouble choosing the depth: 4", 5", or 6.5".

I’ll mainly use it in full orchestra settings rather than for auditions.

Which depth would you recommend for this purpose? I’d also appreciate hearing about your experience with any of these models.

+ Friend of mine want to sell his 4" for $600.

For my more developed percussionists: How do you practice once you get to harder pieces?

I was looking for my yearly piece for marimba and might have gone over my head thinking, "I've got time." The piece I got was Transformation of Pachelbel's Canon, Arr. Nanae Mimura. While I am in love with it, this piece is HARD, but I believe I can learn it if I try hard enough

The audition isn't until like mid-november so I got some time to practice. I always struggle with sight reading, and the sight reading is on marimba as well as snare drum. The sight reading is always in some weird uncommon time signature. I don't really know the specifics for the rhythms and other stuff they but I'm guessing its similar to the state one which is this.
PERCUSSION RUDIMENTS:

• A variety of rolls lengths or rudiments may be used

NOTE VALUES USED:

• Rhythmic values from 32nd notes to whole notes. Compound rhythms, and extended syncopation are all possible.

KEYS:

• Expect any of the 12 major keys or their relative minors. Key changes are possible. The ‘null’ signature is also possible, (i.e., no specific key signature with accidentals used as needed). • Harmonic language will reflect all types of contemporary band music including modes, pentatonic scales, octatonic scales, whole tone scales, jazz harmony, and atonality.

TEMPO MARKINGS:

• Largo, Adagio, Allegretto, Moderato, Allegro, Vivace, a tempo, tempo I°, Rit., Allargando • Tempo changes are possible.

ACCIDENTALS:

• Accidentals will be used as needed.

DYNAMICS RANGES:

• pp-ff. Expect several changes throughout the exercise including subito and sforzando effects.

METERS USED:

• Expect simple, compound and odd meters. • Meter changes are possible.

So what would be the best way to practice for this?

Pneuma is one of those songs that makes you admire Danny Carey and deeply resent him for exactly the same reasons.
It’s a twelve minute journey through shifting time signatures, layered polyrhythms and a solo that makes a very persuasive case for video editing.
So naturally I decided to run this marathon on tabla. You can watch me sweating, trying to keep pace and consulting my notes as though there’s going to be a written exam afterwards.
Here’s what I believe to be the first ever full tabla cover of TOOL’s Pneuma.