For some reason, internet metal nerds love to talk about drummers, even if they themselves do not play drums. Whether it’s “Who has the fastest double bass/blastbeats?”, “Should I use one bass drum or two?” or “What does Pete Sandoval’s drum throne smell like?”, there are few things more tiresome than the topic of metal drumming. What that in mind, in this post I will put the discussion of this topic to rest forever by conclusively saying all that there is to say about metal drumming. After this post has been published, anyone who still debates these points is as foolish, ignorant and stubborn as people who believe the Earth is flat or that God exists. So if you have anything to say, say it now, because this is it — this is your chance to become part of the moment in which we closed the door on dorky, redundant debates about metal drumming.
This is THE FINAL WORD on metal drumming!!!!
Triggers are not cheating
This is perhaps the most tired of all the metal drumming debates, and also the dumbest. Here is the deal: the only thing that matters is the sound coming out of your speakers. If you (the listener) enjoy that sound, it doesn’t matter how it was created. Furthermore, getting butthurt about triggers makes no sense when examined from the perspective of a logical person who is not a moron on a forum — if you are opposed to triggers because they produce a sound that is something other than the exact sound of an acoustic drum, then you should also be opposed to distortion, guitar effects, EQs and amplifiers in general. You should reject any form of music that uses technology more complex than banging a rock on a hollow log, and even then you should make sure to call people cheaters who hollow out the log themselves (rather than scavenging for a naturally-hollow log).
That said, triggers often sound like shit due to misuse. I am sure we could put our heads together and come up with a mile-long list of albums with boring, sterile, lifeless drums that sound like a computerized typewriter thanks to lazy/stupid/unimaginative production. Drums should sound like actual drums, not a series of clicks that keep time with the music. While I appreciate how easy it is these days to get super-clean, “perfect” recordings that would have cost $100,000 a couple decades ago, the problem is that way too many records sound exactly the same because people have bad taste, no imagination, and are content to just use defaults. It’s way cooler to have an “imperfect,” yet unique (or at least distinctive) drum sound than to be another interchangeable meat puppet playing the same triggered sounds as everybody else.
The point is simple: if triggers make your band sound better (whether live or recorded), you should use them if you feel like it. Otherwise, don’t.
Big drum sets are stupid
For whatever dumb reason, metal drummers always have giant drum sets, and it is stupid. Barring some specific, unique aspect of your music, there is no reason why you should have anything larger than a 5-piece kit with 2 crashes, a ride, and perhaps a couple of effects symbols if your band is on the wanky side (a splash, china, ice bell, etc). I can only think of two possible explanations: either metal drummers think that it looks cool to have a big set, or they think that they need 2 bass drums, 6 rack toms, 2 rides and 4 crashes in order to produce a sufficient variety of sounds. Both of these notions are retarded.
It doesn’t look cool to have a huge set, it looks fucking stupid, like one of those dipshits who lives in the city but drives a dually F-350 with halogen lights, chrome grille guard (see above) and other completely dumb, unnecessary accessories that are as tacky as they are impractical. The idea that you need a zillion drums in order to have a wide range of tones is also wrong and stupid. First of all, very few metal bands’ material even calls for/has room for a lot of nuanced percussion sounds, since everything is compressed to fuck and you are probably playing really loud and fast. Can the listener REALLY tell the difference between your 8″, 9″, 10″ and 11″ rack toms?? Second, it is entirely possible to produce all the sounds that 99% of metal bands would ever need with a 4 or 5-piece kit through sticking technique, how you tune your drums, and so forth (ask Travis Barker).
The only reason I can think of to have a big drum set is if you are in some kind of gimmicky retro-metal band like Blessed By A Broken Heart who is trying to semi-ironically evoke the absurd, self-indulgent gear of the 70s and 80s. If that is the case, then you get a pass, and are encouraged to have the most ridiculously giant drum set you can afford and/or fit on stage.
The bottom line is this: I once asked Ken Schalk, the incredibly talented drummer for Candiria, why he played a sparse, 4-piece set. He replied, “I don’t know how to play these four drums yet. When I figure that out, maybe I’ll get more.” If a 4-piece is good enough for Ken, it’s fucking good enough for you.
Blast beats get old fast
Metal “musicians” are not the smartest people, and have bad taste for the most part. For example, most of them think that their best move is to play as fast as possible as often as possible (either blast beats, double bass, or both at once). And when the “human metronome” style of drumming is combined with a generic, sterile, overly-triggered drum sound, the result is the incredibly tepid, monotonous dull roar of riff salad bands like Hate Eternal, newer Deeds of Flesh, and perhaps the worst offenders of all, Vital Remains. (Seven minute songs?! No thanks.)
Look, I love a blast beat as much as anybody. I used to fap over the shittiest bands simply because they played fast (Spastic Blurr or the first Brutal Truth album anybody?), and I still love the intensity of a good blast. The thing is, they are not intense when they are the norm — they are only interesting when they are used as relief, not a non-stop background noise. Playing fast all the time doesn’t make you technically impressive or a good songwriter, and if all you want to hear is some guy playing rudiments as fast as humanly possible, you should just listen to DCI recordings since those guys are much more technical than metal drummers anyway.
The point: Drums are an instrument, not a metronome. They should sound like a human is playing them (unless the point of your band is to sound machine-like), and variety is the spice of life. Use blast beats with restraint, not as your default.
Examples: how to play metal drums the right way
I will conclude by sharing a variety of examples which will illustrate the principles I have outlined above. Naturally I could go on forever when it comes to talking about drummers I like and why I like them, so this list is not exhaustive — just a few selections. These bands/drummers are all pretty different, but the point is that they all do the right thing for the song, and that is what makes them great. In general, you’ll see a few things that come up: solid technical fundamentals, restraint, and more than anything else creativity (without ever getting wanky).
Donald Tardy is one of my favorites because he is the epitome of restraint, especially when you consider that during the time Obituary came up, bands were always trying to one-up each other in the speed department. DT’s playing is deceptively complex: it sounds really straightforward at first blush, but is actually pretty intricate if you listen closely — and needless to say, nobody in death metal grooves like DT!!!
Cephalotripsy has a relentless quality that other bands just can’t seem to duplicate — I almost feel like the drums are a machine that randomly shifts gears between mid-paced chugging and doubletime, with nothing in between. Also, notice how infrequently he hits his snare, it’s really weird! Love the drum sound too, absolutely perfect for slam.
With all the complaining I did about “human metronome” drumming and typewriter triggers, you might be surprised to see this band/album included in my list. The point is that there’s a place for just about everything — this album is all about nonstop, inhumanly fast and ultra-precise riffing, so machinelike, robotic drumming is entirely appropriate. (Yes, I know this is the wrong version, but I couldn’t find the right one on YouTube.)
Of all the bands who have tried to combine metal and jazz, few stand above Candiria, and few drummers in all of metal can hang with Ken Schalk. What makes him so great is that he really has his feet in both genres, rather than grafting one onto the other like most do, and his fills are some of the smoothest you’ll find. His playing actually reminds me a lot of the next guy, 311’s Chad Sexton. (The actual song above starts at around 1:10 after the long, weird intro)
Chad Sexton is the epitome of a drum corp guy who plays in a rock band, and one of my very favorite drummers in any genre. This video is interesting because it illustrates how many sounds you can get out of a drum if you’re a little creative with your technique, as well as sharing the secret to one of the best snare sounds I’ve ever heard.
The Confessor LP is an underappreciated little gem with very unique drumming. I guess the drummer has a DVD, and in this clip explains how he builds his drum parts. Adding and subtracting accents to create something cool and unexpected is a much more interesting approach to progressive metal than just trying to play more notes.
VOD were kind of lumped in with all the dumb Long Island mosher bands, but they were really on a whole other level of polish and sophistication (aside from a few awkward early song like, uh, “Rhythm of the AK” or whatever). The drumming is super, super smooth, with both great playing and tone — I don’t think I’ve heard anything quite like the rubbery kind of drum sound on this album, and would be interested to know how they got it.
It’s almost redundant to include Bloodlet in the same list as Helmet and 311, because the drumming is very much in the same vein, but I just wanted to take the opportunity to give Charlie King some dap. He was without a doubt one of the most technically solid drummers in the 90s hardcore scene, and you should definitely pick up “Entheogen” if you get a chance.
For the most part I think drum videos are pretty boring and pointless exercises in showing off, but this one is entirely different. “Brain’s Lessons,” produced by Primus’ drummer Brain about ten years ago, is really more about creativity, feel, and groove than it is technique, and that’s exactly why I like it. The whole thing is on YouTube, so check it out.
I would find it very challenging to play in Angelcorpse, because their songs are pretty much all fast, all the time, and that makes it very tough to be creative. Despite that, Tony Laureano manages to make non-stop blasts and double bass feel very organic and human, with interesting bits like the awesome hi-hat work during the verse of this song (starts around :10).
When it comes to super-tight, rock-solid, ultra-syncopated drumming in metal, John Stanier has no equal. You can definitely tell he played quads/quints in marching band when he busts out weird shit like the left-lead run up the kit in the beginning of this song, but he is the blueprint for restraint. The fate of the furious 8 full movie download utorrent pirate bay free. Also one of the first to have the cranked snare sound and to play his cymbals (to borrow a phrase) “sarcastically high.”
Apparently Origin’s first album isn’t popular with their fans, but it’s the only one I like, and the appeal is largely from the odd and unique drumming. While their later albums are very standard riff salad tech-death, the arrangements on this one are totally off the wall, and the drums sound like a schizophrenic person practicing rudiments. As I recall from interviewing him years ago, John Longstreth played on this album, but all the drum patterns were written by the band’s previous drummer (whoever that was), which could explain the difference.
Did I miss anything?? Are you glad that I just settled every debate about metal drumming???? Why do people think it’s heavy or brutal to sound like a typewriter? What’s so cool about giant drumsets? Why are metal drummers so lacking in creativity??!
-Sergeant D.
A sign in a shop window in Italy proclaims 'No Tic Tac', in imitation of the sound of a clock.
Onomatopœia (/ˌɒnəˌmætəˈpiːə, -ˌmɑː-/(listen);[1][2] from the Greek ὀνοματοποιία;[3] ὄνομα for 'name'[4] and ποιέω for 'I make',[5]adjectival form: 'onomatopœic' or 'onomatopœtic') is the process of creating a word that phonetically imitates, resembles, or suggests the sound that it describes. As such words are uncountable nouns, onomatopoeia refers to the property of such words. Common occurrences of words of the onomatopoeia process include animal noises such as 'oink', 'meow' (or 'miaow'), 'roar' and 'chirp'. Onomatopoeia can differ between languages: it conforms to some extent to the broader linguistic system;[6][7] hence the sound of a clock may be expressed as 'tick tock' in English, 'tic tac' in Spanish and Italian, 'dī dā' in Mandarin, 'katchin katchin' in Japanese, or 'tik-tik' in Hindi.
Although in the English language the term onomatopœia means 'the imitation of a sound', the compound word onomatopœia (ὀνοματοποιία) in the Greek language means 'making or creating names'. For words that imitate sounds, the term ὴχομιμητικό (echomimetico) or echomimetic) is used. The word ὴχομιμητικό (echomimetico) derives from 'ὴχώ', meaning 'echo' or 'sound', and 'μιμητικό', meaning 'mimetic' or 'imitating'.
- 1Uses
- 2Comics and advertising
- 8In other languages
- 10References
Uses
A bang flag gun, a novelty item
In the case of a frog croaking, the spelling may vary because different frog species around the world make different sounds: Ancient Greekbrekekekex koax koax (only in Aristophanes' comic play The Frogs) probably for marsh frogs; English ribbit for species of frog found in North America; English verb croak for the common frog.[8]
Some other very common English-language examples are hiccup, zoom, bang, beep, moo, and splash. Machines and their sounds are also often described with onomatopoeia: honk or beep-beep for the horn of an automobile, and vroom or brum for the engine. In speaking of a mishap involving an audible arcing of electricity, the word 'zap' is often used (and its use has been extended to describe non-auditory effects generally connoting the same sort of localized but thorough[clarification needed] interference or destruction similar to that produced in short-circuit sparking).
Human sounds sometimes provide instances of onomatopoeia, as when mwah is used to represent a kiss.[9]
For animal sounds, words like quack (duck), moo (cow), bark or woof (dog), roar (lion), meow/miaow or purr (cat), cluck (chicken) and baa (sheep) are typically used in English (both as nouns and as verbs).
Some languages flexibly integrate onomatopoeic words into their structure. This may evolve into a new word, up to the point that the process is no longer recognized as onomatopoeia. One example is the English word 'bleat' for sheep noise: in medieval times it was pronounced approximately as 'blairt' (but without an R-component), or 'blet' with the vowel drawled, which more closely resembles a sheep noise than the modern pronunciation.
An example of the opposite case is 'cuckoo', which, due to continuous familiarity with the bird noise down the centuries, has kept approximately the same pronunciation as in Anglo-Saxon times and its vowels have not changed as they have in the word furrow.
Verba dicendi ('words of saying') are a method of integrating onomatopoeic words and ideophones into grammar.
Sometimes, things are named from the sounds they make. In English, for example, there is the universal fastener which is named for the sound it makes: the zip (in the UK) or zipper (in the U.S.) Many birds are named after their calls, such as the bobwhite quail, the weero, the morepork, the killdeer, chickadees and jays, the cuckoo, the chiffchaff, the whooping crane, the whip-poor-will, and the kookaburra. In Tamil and Malayalam, the word for crow is kaakaa. This practice is especially common in certain languages such as Māori, and so in names of animals borrowed from these languages.
Cross-cultural differences
Although a particular sound is heard similarly by people of different cultures, it is often expressed through the use of different consonant strings in different languages. For example, the snip of a pair of scissors is cri-cri in Italian, riqui-riqui in Spanish, terre-terre or treque-treque in Portuguese, krits-krits in modern Greek, cëk-cëk in Albanian and katr-katr in Hindi.[10] Similarly, the 'honk' of a car's horn is ba-ba (Han: 叭叭) in Mandarin, tut-tut in French, pu-pu in Japanese, bbang-bbang in Korean, bært-bært in Norwegian, fom-fom in Portuguese and bim-bim in Vietnamese.
Onomatopoeic effect without onomatopoeic words
An onomatopoeic effect can also be produced in a phrase or word string with the help of alliteration and consonance alone, without using any onomatopoeic words. The most famous example is the phrase 'furrow followed free' in Samuel Taylor Coleridge's The Rime of the Ancient Mariner. The words 'followed' and 'free' are not onomatopoeic in themselves, but in conjunction with 'furrow' they reproduce the sound of ripples following in the wake of a speeding ship. Similarly, alliteration has been used in the line 'as the surf surged up the sun swept shore..', to recreate the sound of breaking waves, in the poem 'I, She and the Sea'.
Comics and advertising
A sound effect of breaking a door
Comic strips and comic books make extensive use of onomatopoeia. Popular culture historian Tim DeForest noted the impact of writer-artist Roy Crane (1901–1977), the creator of Captain Easy and Buz Sawyer:
- It was Crane who pioneered the use of onomatopoeic sound effects in comics, adding 'bam,' 'pow' and 'wham' to what had previously been an almost entirely visual vocabulary. Crane had fun with this, tossing in an occasional 'ker-splash' or 'lickety-wop' along with what would become the more standard effects. Words as well as images became vehicles for carrying along his increasingly fast-paced storylines.[11]
In 2002, DC Comics introduced a villain named Onomatopoeia, an athlete, martial artist, and weapons expert, who often speaks pure sounds.
Advertising uses onomatopoeia for mnemonic purposes, so that consumers will remember their products, as in Alka-Seltzer's 'Plop, plop, fizz, fizz. Oh, what a relief it is!' jingle, recorded in two different versions (big band and rock) by Sammy Davis, Jr.
Rice Krispies (US and UK) and Rice Bubbles (AU)[clarification needed] make a 'snap, crackle, pop' when one pours on milk. During the 1930s, the illustrator Vernon Grant developed Snap, Crackle and Pop as gnome-like mascots for the Kellogg Company.
Sounds appear in road safety advertisements: 'clunk click, every trip' (click the seatbelt on after clunking the car door closed; UK campaign) or 'click, clack, front and back' (click, clack of connecting the seat belts; AU campaign) or 'click it or ticket' (click of the connecting seat belt, with the implied penalty of a traffic ticket for not using a seat belt; US DOT (Department of Transportation) campaign).
The sound of the container opening and closing gives Tic Tac its name.
Manner imitation
In many of the world's languages, onomatopoeic-like words are used to describe phenomena beyond the purely auditive. Japanese often uses such words to describe feelings or figurative expressions about objects or concepts. For instance, Japanese barabara is used to reflect an object's state of disarray or separation, and shiiin is the onomatopoetic form of absolute silence (used at the time an English speaker might expect to hear the sound of crickets chirping or a pin dropping in a silent room, or someone coughing). In Albanian, tartarec is used to describe someone who is hasty. It is used in English as well with terms like bling, which describes the glinting of light on things like gold, chrome or precious stones. In Japanese, kirakira is used for glittery things.
Examples in media
- James Joyce in Ulysses (1922) coined the onomatopoeic tattarrattat for a knock on the door.[12] It is listed as the longest palindromic word in The Oxford English Dictionary.[13]
- Whaam! (1963) by Roy Lichtenstein is an early example of pop art, featuring a reproduction of comic book art that depicts a fighter aircraft striking another with rockets with dazzling red and yellow explosions.
- In the 1960s TV series Batman, comic book style onomatopoeic words such as wham!, pow!, biff!, crunch! and zounds! appear onscreen during fight scenes.
- Ubisoft's XIII employed the use of comic book onomatopoeic words such as bam!, boom! and noooo! during gameplay for gunshots, explosions and kills, respectively. The comic-book style is apparent throughout the game and is a core theme, and the game is an adaptation of a comic book of the same name.
- The chorus of American popular songwriter John Prine's song 'Onomatopoeia' cleverly incorporates onomatopoeic words (though 'ouch!' is not the sound of pain): 'Bang! went the pistol. | Crash! went the window. | Ouch! went the son of a gun. | Onomatopoeia | I don't wanna see ya | Speaking in a foreign tongue.'
- The marble game KerPlunk has an onomatopoeic word for a title, from the sound of marbles dropping when one too many sticks has been removed.
- The Nickelodeon cartoon's title KaBlam! is implied to be onomatapoeic to a crash.
- Each episode of the TV series Harper's Island is given an onomatopoeic name which imitates the sound made in that episode when a character dies. For example, in the episode titled 'Bang' a character is shot and fatally wounded, with the 'Bang' mimicking the sound of the gunshot.
- Mad Magazine cartoonist Don Martin, already popular for his exaggerated artwork, often employed comic-book style onomatopoeic 'sound effects' in his drawings (for example, 'thwizzit' is the sound of a sheet of paper being yanked from a typewriter). Fans have compiled The Don Martin Dictionary, cataloguing each 'sound' and its 'meaning'.
Cross-linguistic examples
In linguistics
A key component of language is its arbitrariness and what a word can represent[clarification needed], as a word is a sound created by humans with attached meaning to said sound.[14] No one can determine the meaning of a word purely by how it sounds. However, in onomatopoeic words, these sounds are much less arbitrary; they are connected in their imitation of other objects or sounds in nature. Vocal sounds in the imitation of natural sounds doesn't necessarily gain meaning, but can gain symbolic meaning.[clarification needed][15] An example of this sound symbolism in the English language is the use of words starting with sn-. Some of these words symbolize concepts related to the nose (sneeze, snot, snore). This does not mean that all words with that sound relate to the nose, but at some level we recognize a sort of symbolism associated with the sound itself. Onomatopoeia, while a facet of language, is also in a sense outside of the confines of language.[16]
In linguistics, onomatopoeia is described as the connection, or symbolism, of a sound that is interpreted and reproduced within the context of a language, usually out of mimicry of a sound.[17] It is a figure of speech, in a sense. Considered a vague term on its own, there are a few varying defining factors in classifying onomatopoeia. In one manner, it is defined simply as the imitation of some kind of non-vocal sound using the vocal sounds of a language, like the hum of a bee being imitated with a “buzz” sound. In another sense, it is described as the phenomena of making a new word entirely.
Onomatopoeia works in the sense of symbolizing an idea in a phonological context, not necessarily constituting a direct meaningful word in the process.[18] The symbolic properties of a sound in a word, or a phoneme, is related to a sound in an environment, and are restricted in part by a language's own phonetic inventory, hence why many languages can have distinct onomatopoeia for the same natural sound. Depending on a language’s connection to a sound's meaning, that language’s onomatopoeia inventory can differ proportionally. For example, a language like English generally holds little symbolic representation when it comes to sounds, which is the reason English tends to have a smaller representation of sound mimicry then a language like Japanese that overall has a much higher amount of symbolism related to the sounds of the language.
The evolution of language
In ancient Greek philosophy, onomatopoeia was used as evidence for how natural a language was: it was theorized that language itself was derived from natural sounds in the world around us. Symbolism in sounds was seen as deriving from this.[19] Some linguists hold that onomatopoeia may have been the first form of human language.[16]
In the development of a language, sounds that are associated with natural objects then go on to form words with related meanings.[15] For example, gl- at the beginning of an English word can denote something that is shining or iridescent (e.g. glitter, glisten, gleam).[dubious]
Role in early language acquisition
When first exposed to sound and communication, humans are biologically inclined to mimic the sounds they hear, whether they are actual pieces of language or other natural sounds.[20] Early on in development, an infant will vary his/her utterances between sounds that are well established within the phonetic range of the language(s) most heavily spoken in their environment, which may be called 'tame' onomatopoeia, and the full range of sounds that the vocal tract can produce, or 'wild' onomatopoeia.[18] As one begins to acquire one's first language, the proportion of 'wild' onomatopoeia reduces in favor of sounds which are congruent with those of the language they are acquiring.
During the native language acquisition period, it has been documented that infants may react strongly to the more wild-speech features to which they are exposed, compared to more tame and familiar speech features. But the results of such tests are inconclusive.
In the context of language acquisition, sound symbolism has been shown to play an important role.[15] The association of foreign words to subjects and how they relate to general objects, such as the association of the words takete and baluma with either a round or angular shape, has been tested to see how languages symbolize sounds.
In other languages
Japanese
Main article: Japanese sound symbolism
The Japanese language has a large inventory of ideophone words that are symbolic sounds. These are used in contexts ranging from day to day conversation to serious news.[21] These words fall into four categories:
- Giseigo: mimics humans and animals. (e.g. wanwan for a dog's bark)
- Giongo: mimics general noises in nature or inanimate objects. (e.g. zaazaa for rain on a roof)
- Gitaigo: describes states of the external world
- Gijōgo: describes psychological states or bodily feelings.
The two former correspond directly to the concept of onomatopoeia, while the two latter are similar to onomatopoeia in that they are intented to represent a concept mimetically and performatively rather than referentially, but different from onomatopoeia in that they aren't just imitative of sounds. For example, 'shiinto' represents something being silent, just as how an anglophone might say 'clatter, crash, bang!' to represent something being noisy. That 'representative' or 'performative' aspect is the similarity to onomatopoeia.
Sometimes Japanese onomatopoeia produces reduplicated words.[19]
Hebrew
As in Japanese, onomatopoeia in Hebrew sometimes produces reduplicated verbs:[22]:208
- שקשק shikshék 'to make noise, rustle'.[22]:207
- רשרש rishrésh 'to make noise, rustle'.[22]:208
Malay
Noise Sounds Words
There is a documented correlation within the Malay language of onomatopoeia that begin with the sound bu- and the implication of something that is rounded. As well as with the sound of -lok within a word conveying curvature in such words like lok, kelok and telok ('locomotive', 'cove', and 'curve' respectively).[23]
Arabic
The Qur'an, written in Arabic, documents instances of onomatopoeia.[16] Of about 77,701 words, there are nine words that are onomatopoeic: three are animal sounds (e.g., 'mooing'), two are sounds of nature (e.g.; 'thunder'), and four that are human sounds (e.g., 'whisper' or 'groan').
Albanian
There is wide array of objects and animals in the Albanian language that have been named after the sound they produce. Such onomatopoeic words are shkrepse (matches), named after the distinct sound of friction and ignition of the match head; take-tuke (ashtray) mimicking the sound it makes when placed on a table; shi (rain) resembling the continuous sound of pouring rain; kukumjaçkë (Little owl) after its 'cuckoo' hoot; furçë (brush) for its rustling sound; shapka (slippers and flip-flops); pordhë (rumorous flatulence) and fëndë (silent flatulence).
See also
References
Drum Sound In Words Meaning
Notes
- ^Wells, John C. (2008), Longman Pronunciation Dictionary (3rd ed.), Longman, ISBN978-1-4058-8118-0
- ^Roach, Peter (2011), Cambridge English Pronouncing Dictionary (18th ed.), Cambridge: Cambridge University Press, ISBN978-0-521-15253-2
- ^ὀνοματοποιία, Henry George Liddell, Robert Scott, A Greek-English Lexicon, on Perseus
- ^ὄνομα, Henry George Liddell, Robert Scott, A Greek-English Lexicon, on Perseus
- ^ποιέω, Henry George Liddell, Robert Scott, A Greek-English Lexicon, on Perseus
- ^Onomatopoeia as a Figure and a Linguistic Principle, Hugh Bredin, The Johns Hopkins University, Retrieved November 14, 2013
- ^Definition of Onomatopoeia, Retrieved November 14, 2013
- ^Basic Reading of Sound Words-Onomatopoeia, Yale University, retrieved October 11, 2013
- ^English Oxford Living Dictionaries
- ^Earl Anderson, A Grammar of Iconism, Fairleigh Dickinson, 1999
- ^DeForest, Tim (2004). Storytelling in the Pulps, Comics, and Radio: How Technology Changed Popular Fiction in America. McFarland.
- ^James Joyce (1982). Ulysses. Editions Artisan Devereaux. pp. 434–. ISBN978-1-936694-38-9.
..I was just beginning to yawn with nerves thinking he was trying to make a fool of me when I knew his tattarrattat at the door he must ..
- ^O.A. Booty (1 January 2002). Funny Side of English. Pustak Mahal. pp. 203–. ISBN978-81-223-0799-3.
The longest palindromic word in English has 12 letters: tattarrattat. This word, appearing in the Oxford English Dictionary, was invented by James Joyce and used in his book Ulysses (1922), and is an imitation of the sound of someone [farting].
- ^Assaneo, María Florencia; Nichols, Juan Ignacio; Trevisan, Marcos Alberto (2011-01-01). 'The anatomy of onomatopoeia'. PLoS One. 6 (12): e28317. doi:10.1371/journal.pone.0028317. ISSN1932-6203. PMC3237459. PMID22194825.
- ^ abcRHODES, R (1994). 'Aural Images'. In J. Ohala, L. Hinton & J. Nichols (eds.) Sound Symbolism. Cambridge, UK: Cambridge University Press.
- ^ abc'The Study of Onomatopoeia in the Muslims' Holy Write: Qur'an: OneSearch for Articles, Books, and More'. eds.a.ebscohost.com. Retrieved 2017-02-27.
- ^Bredin, Hugh (1996-08-01). 'Onomatopoeia as a Figure and a Linguistic Principle'. New Literary History. 27 (3): 555–569. doi:10.1353/nlh.1996.0031. ISSN1080-661X.
- ^ abLaing, C. E. (2014-09-15). 'A phonological analysis of onomatopoeia in early word production'. First Language. doi:10.1177/0142723714550110.
- ^ abOsaka, Naoyuki (1990). 'Multidimensional Analysis of Onomatopoeia -A note to make sensory scale from word'(PDF). Studia phonologica: 25–33 – via Kyoto University Research Information Repository.
- ^Assaneo, María Florencia; Nichols, Juan Ignacio; Trevisan, Marcos Alberto (2011-12-14). 'The Anatomy of Onomatopoeia'. PLoS ONE. 6 (12): e28317. doi:10.1371/journal.pone.0028317. ISSN1932-6203. PMC3237459. PMID22194825.
- ^Inose, Hiroko. 'Translating Japanese Onomatopoeia and Mimetic Words.' N.p., n.d. Web.
- ^ abcZuckermann, Ghil'ad (2003), Language Contact and Lexical Enrichment in Israeli Hebrew. Palgrave Macmillan. ISBN9781403917232 / ISBN9781403938695[1]
- ^WILKINSON, R. J. (1936-01-01). 'ONOMATOPOEIA IN MALAY'. Journal of the Malayan Branch of the Royal Asiatic Society. 14 (3 (126)): 72–88. JSTOR41559855.
General references
- Crystal, David (1997). The Cambridge Encyclopedia of Language (2nd ed.). Cambridge University Press. ISBN0-521-55967-7.
- Smyth, Herbert Weir (1920). Greek Grammar. Cambridge MA: Harvard University Press. p. 680. ISBN0-674-36250-0.
External links
Look up onomatopoeia in Wiktionary, the free dictionary. |
Wikimedia Commons has media related to Onomatopoeia. |
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One of the main characteristics of the bass drum sound is its indefinite pitch. The large resonant chamber means that the tone is very deep; depending on the size of the drum it lies somewhere between C and G but is perceived as one or even two octaves lower.
Like the timpani’s, the bass drum’s timbre is composed of two elements: the attack, which possesses purely noise-like properties, and the resonance, which has a duration of around 3–4 seconds at mezzoforte.
Factors that influence the timbre
The bass drum possesses an enormous dynamic spectrum and a huge variety of timbres. The quality of the sound depends on a number of factors:
Force of attack
The possibilities range from a solo ppp, which creates an atmosphere laden with tension, to single strokes like a burst of cannon fire which can give the audience a shock.
The possibilities range from a solo ppp, which creates an atmosphere laden with tension, to single strokes like a burst of cannon fire which can give the audience a shock.
Striking spot
The usual striking spot about a hand-width from the center of the head produces a rich, resounding tone. The nearer the rim the head is struck the brighter the sound becomes; it is extremely resonant and tends toward a definite pitch. The center of the head produces a dark, slightly hollow sound with little resonance.
The usual striking spot about a hand-width from the center of the head produces a rich, resounding tone. The nearer the rim the head is struck the brighter the sound becomes; it is extremely resonant and tends toward a definite pitch. The center of the head produces a dark, slightly hollow sound with little resonance.
Sticks
The softer the stick the more mellow and rich the sound. The harder the stick the more prominent the attack and the more precise the note.
The softer the stick the more mellow and rich the sound. The harder the stick the more prominent the attack and the more precise the note.