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My mother says I have boring percussion.
I play guitar, piano, bass and percussion.
I studied classical percussion for ten years.
I'm more a percussion instrument than a dancer.
I grew up playing classical piano and percussion.
I played djembe, percussion, keyboards and I sang.
And this is our time-keeper, with a passion for percussion
I read and write classical piano and percussion, also guitar.
I've been down there 6 times and there's nothing like Brazilian percussion.
'Music for Strings, Percussion, and Celesta' is a kind of expansion of chamber music.
Since I was a child, I was yearning to learn about percussion because that's what I loved.
I played in the percussion section 4th grade through high school - snare and timpani mostly.
On an ideal Saturday night, I'll go to the New York City Ballet, where my friends play percussion.
I really just wanted to play the drum set and match that. I was never really into the percussion thing.
I like music more balanced between the voice and the guitar and the percussion. I don't like heavy metal.
I mean, I can sit down with a guitar, and in fact, we do two, three songs with just guitar and percussion.
I've figured out what to do with my hands... onstage. I'm a percussion player, so I grab a tambourine as much as I can.
Percussion is the most adaptable family of instruments. The biggest challenge is to project percussion in a lyrical way.
Heaven to me is percussion and bass, a screaming guitar and a burbling Hammond B-3 organ. It's a soup I love being immersed in.
When I was 12, I happened to see a schoolmate playing percussion, and it looked interesting. I asked for lessons, and it felt right.
I identify more as a musician than as a singer, because I play piano and percussion, and I engineer and produce everything that I do.
I think I can only help to expose percussion to all sorts of people. The balance between the lighter and more serious side is important.
I studied percussion as a music student, and I didn't have the best of timing, so I could never make it as a professional, unfortunately.
A large part of my work has been collaborating with composers; I think we've commissioned about 140 pieces now, a lot of them percussion concertos.
My first memory of playing music was when I was 3 years old in Puerto Rico. I played percussion on a tin can behind my uncle, who played the cuatro.
I like to listen to my iPod and also play music. I've been doing percussion since I was eight or nine. Rhythm is crucial in long jump but also in life.
And, you know, I think the original recording of Ravel's Bolero, probably whoever played percussion on that, will never have It played better than that.
Percussion is physical, as most instruments are. The body must function well in order to play the instruments well. Last year I climbed Mount Kilimanjaro.
Mad World's distinctive percussion intro was played on a Roland CR-78 drum machine. We first recorded it at twice the speed, but it sounded great slowed down.
My father was a jazz listener, and I think, at least before I was 5, I was not so into that. Although there were records that emphasized percussion that I liked, like Baby Dodds.
When I lost the use of my hi-hat and bass drum legs, I became basically a singer. I was a drummer who did a bit of singing, and then I became a singer who did a bit of percussion.
My father moved to Hawaii from Brooklyn and my mother came there as a child from the Philippines. They met at a show where my dad was playing percussion. My mom was a hula dancer.
I studied classical percussion for ten years. At one point I was thinking about going to the Sydney Conservatorium of Music, but then I realized it's actually not what I wanted to do.
After I learned the piano, I went on to learn percussion, the tuba, b-flat baritone, French horn, trombone, trumpet, most of the instruments in the orchestra. Trumpet was my instrument.
I can't get that live and I don't have the time to take the tape, after I've finished recording it, into a little studio somewhere else where I can get a different kind of percussion sound.
I was able to interpret the difference between the sharp, quick sound and the slow, deep sound of percussion and manipulate it, get a third sound out of things, if the beats were rapid enough.
I grew up in a house that was always happy, and my family was always music, music. I started playing percussion very young, because I had some uncles who were musicians and all my aunts were singers.
You know, as I'm progressing with my sound, I just realize when you got a simple sound with crazy percussion in the beats, it makes it. It kinda shapes my sound when it comes to what makes a Tay Keith beat.
All the instruments of percussion known to European science are essentially nonmusical and can only be tolerated in open air music or in large orchestras where a little noise more or less makes no difference.
I play a percussion instrument, not a musical saw; it needs no amplification. Where it's needed, they put a microphone in front of the bass drum. But, I don't think it's necessary to play that way every night.
I was drawn to West Africa. I did listen to a bunch of different styles of African music, and there was something about the percussion and the drums of West Africa, and the energy, that felt so cinematic to me.
For me, the most difficult thing is that I am learning melodies on guitar from some songs whose melodies were not meant to be played on guitar. Ever. They were intended mostly for keyboards or melodic percussion.
I play the piano and that's how I learned about music. I then taught myself the guitar, drums, percussion and various other things, such as the bazooka, the mandolin, the Theremin, the alpine horn, the didgeridoo.
Many MIDI files contain entire musical compositions. Because MIDI supports only 16 channels, however, no more than 16 different instruments can play at any time, and one of those is the key-based percussion instrument.
Our main thing we'd have to entertain us: All my uncles would come over, and we'd sit around the living room on a weekend night, and we'd play. That was a big event for me, getting to play. We never did have any percussion.
According to my parents, I just started drumming when I was two. I traveled with them from five to seven on the road, playing percussion. Between 8 and 12, my dad sort of prepared me by teaching me every aspect of road life.
With a lot of action scores, you're competing with a lot of noise. Say there's a big explosion: the music would conventionally have a lot of Hollywood-style percussion or brass, because that's the only thing that will cut through.
The thing with the piano is, the piano is like percussion almost - well, it is. You have to... not beat on it, but there is more work involved than a Hammond. With a Hammond, you just lay your hands on the keys, man, and you're gone.
My son Wesley has just turned 13. He was 12 during the recording of this record and he is quite a drummer already and has been studying drums since he was four, but he's also very interested in African percussion and studies percussion.
The first album I ever bought was Santana's 'Abraxas.' Obviously, I was a huge fan of Carlos because he had the unique guitar sound, and he had incorporated a lot of the percussion and really, really fun rhythmic bass lines in there, too.