the vibraphone

Okay so it seems like people will call any mallet percussion instrument a xylophone and I’m here to teach you shit.

This is a xylophone. The wood part is thick and it’s high pitched.

This is a marimba. It’s huge and expensive. No like a small one costs over $4,000 (3186.20 euros). The key things are really long and thin.

Now do you see this beautiful instrument? This is called the vibraphone motherfuckers. Or just the vibes. Anyways it sounds amazing. I could marry the sound. Basically, it;s made of metal and you have a pedal to stop it from ringing too long.

This is the glockenphejksdfjkl. I have no idea how to spell it, so lets just call it the orchestral bells. If you hit this shit too loud it can burst your eardrums. 

These are a joke.

I am a Musician. You are a Musician

I am a musician. I have to work harder and harder everyday to improve who I am, and to make sure I become what I want to become.

Let me tell you something, sugar. Music isn’t easy. Music is probably one of the hardest careers out there, and before you start telling me about something that’s harder, read the rest of this.

In the music industry, you will never be ‘the best’. There is no way around it. You will never be the best, and you have to accept that. Somewhere, there’s someone with more experience and more time under their belt than you. They will be better.


There will be a point where you will be one of the best. Not ‘the best’, but pretty dang close. YOU will be the person that a young boy or girl looks up to as they force themselves to play their scales over and over until they are in tune because they know that YOU practice your scales. They know that you didn’t give up on what you loved, and they’re looking at you now, hoping that one day they may stand on the same stages as you. Play with the same orchestras as you. Play the same pieces as you.

One day, you’ll be watching an interview of a musician in their late twenties/early thirties, they will be asked a question along the lines of ‘Who do you look up to most?’, then they will smile, look into the camera, and say your name. Why?

Because you are a musician.

The Instruments if they were Pokémon

Piccolo: Fairy/Flying type, Evolves to Flute with High Friendship.

Flute: Fairy/Flying type, Evolves from Piccolo and Mega-Evolves into Hyperbass Flute.

Clarinet: Dark type, evolves from E flat Clarinet with high friendship, evolves into Bass Clarinet with a dusk stone.

Bass Clarinet: Dark/Steel type, evolves from Clarinet, Mega-Evolves into Contrabass Clarinet.

Oboe: Fairy/Grass type, Evolves into English Horn at level 18.

English Horn: Fairy/Psychic type, Evolves into Heckelphone with a sunstone or into Bass Oboe with a moonstone.

Bassoon: Fighting/Grass type, Evolves into Contrabassoon at level 32.

Contrabassoon: Fighting/Grass type, Evolves from Bassoon, Mega-Evolves into Contraforte.

Saxophones: All Fighting/Steel type. Alto evolves into Tenor at level 16, Tenor evolves into Bari at level 32, Bari Mega-Evolves into Contrabass.

French Horn: Dragon/Electric type. No evolutions.

Trumpet: Dragon/Fairy type. No evolutions.

Trombone: Electric/Fighting type. Evolves into Bass Trombone which Mega-Evolves into Contrabass.

Baritone: Electric/Ground type. Evolves from Alto Horn with a Thunder Stone.

Euphonium: Electric/Ground type. Evolves into Tuba at level 50.

Tuba: Electric/Ground type. Mega-Evolves into Sousaphone.

Mallets: All Grass/Psychic type. Xylophone evolves into Vibraphone at level 16, Vibes evolve into Marimba at level 32.

Snare Drum: Steel/Rock type. Evolves into Bass Drum at level 46, or into Timpani when traded holding the Metal Coat.

Violin: Normal/Psychic type, Evolves into Viola with a moonstone. Comes in 2 forms: 1st and 2nd Violins.

Viola: Dark/Psychic type, Evolves into Cello at level 17, or into Bass if traded holding the Cracked Rosin.

Cello: Fairy/Psychic type, Evolves from Viola.

Bass: Dark/Psychic type, Evolves from Viola, Mega-Evolves into Octobass.

Piano: Normal/Dark type. Comes in many different forms: Upright, Honky Tonk, Grand, Toy, and Electric. Evolves into Organ at level 70. Basically the Pikachu.

Guitar: Normal type. Has an Alolan Form (Hawaiian Guitar) Evolves from Ukulele.

anonymous asked:

Hold on one second WHAT THE HELL IS BOWING A VIBRAPHONE ~ a v confused pianist who taps tunes on the shitty class vibraphone occasionally

Lust For Life - so far

Cherry - (live / more)
White Mustang (snippets)
Summer Bummer - Ft A$AP Rocky (snippets)
Groupie Love Ft A$AP Rocky (snippet)
Change - (snippets) 

 “I wrote a song called, 13 Beaches which talks about how I do it, last summer, I had to go to 13 different beaches before I could find one without paparazzi, where I laid down with a book. But we can get used to anything. And then maybe it’s worth it. What I can’t get used to, is systematically finding my songs on the internet before they’re supposed to come out. It takes so much time to make a record… a year and a half! When leaving the studio, I always have to hope that they’re secure.”

I have a song that’s quite aware about the collective worry, about whether this is the end of an era. It’s called “When the World Was at War We Kept Dancing.” But I actually went back and forth about keeping it on the record, because I didn’t want it there if it would make people feel worse instead of better. It’s not apathetic. The tone of the production is very dark, and doesn’t lead to a fucking happy feeling. And the question it poses: Is this the end of America, of an era? Are we running out of time with this person at the helm of a ship? Will it crash? In my mind, the lyrics were a reminder not to shut down or shut off, or just don’t talk about things. It was more like stay vigilant and keep dancing. Stay awake. “God Bless America,” and another song called, “When the World Was at War We Just Kept Dancing,” which is about what we’ve been talking about: trying to stay positive, and just believing that things are going to be okay. And if it feels like they’re not going to be okay, we’ll try and make them okay individually and then together.”

Tomorrow Never Came - ft. Sean Lennon
Beyond the meta-awareness of the lyrics and rich instrumentation [Lennon added “acoustic six- and 12-string guitar, electric guitar, lap steel, upright bass, vibraphone, harpsichord, orchestra bells, drums, and Mellotron strings, and shaker”], a particularly resonant lyric repeats itself a handful of times: “You weren’t in the spot you said to wait.”  I ask Del Rey if there are running themes of stasis or waiting elsewhere on the record. “I think that’s why I felt that of anything on the record, that wasn’t my song,” she considers. “I didn’t feel like I was waiting for anything. It’s really not about anything personally, except that I love the sonics of it; the filters. I try to be as careful as I can that I’ll want to sing stuff on stage that I write. And that song will be an easy one to do because it doesn’t pull at any heartstrings or anything. And I know it’s special to Sean as well, because he’s his dad’s biggest fan. And so I like that, in a small way, they had a moment, in whatever surreal way that could happen. Notably, there is a track on Lust for Life, recorded with Sean Lennon, a layered and playful number that explores, among other things, John Lennon and Yoko Ono – a canonical deity of lust and artistry if ever there was – that sees Del Rey refreshingly step outside her own paradigm. “I felt like it belonged to someone else,” she says of the single, “Tomorrow Never Came.” “And I never feel that, because I like to keep everything for myself. I thought it might be strange for Sean to sing a song about John and Yoko as well. But I think the fact that I sing, ‘Isn’t life crazy now that I’m singing with Sean.’ It points to the fact that we’re both aware. I didn’t want it to come out exploitative in any fashion. Not that it would. Still, I wanted to be as careful as possible. I wanted it to come across layered with this sort of meta narrative mixed in. In a way it’s a song about a song.”  Sean Lennon - “I felt like it was my job to simply highlight and accentuate what was already there in her voice and melody, and in her lyrics.

Beautiful People, Beautiful Problems - where she trades verses and coalesces on the chorus with the one and only Stevie Nicks, “I didn’t know what to except or that I could even ask her, Del Rey remarks. “When I went through ideas of women that could really add something to the record, she was the one we kept coming back to.” - Lana   “That’s where “Beautiful People, Beautiful Problems” comes from, because we are trying to ride above all the problems and have hope in everything else, but it’s still a world filled with problems no matter how hard we try to change it.”  - Stevie Nicks  

God Bless America,” an unbridled spanker of a song that’s title refrain is followed by, “And all the beautiful women in it.” “Yeah, I went there. It has some strong messaging. Some iconography, with Lady Liberty, fire escapes and the streets, and I do get a little New York feel when I listen back to it.” I tell her the song feels grandiose in production, anthemic in verse… very New York in fact. And while New York (and its banks) have churned out the free world leader and a boys club not so concerned about everyone therein being blessed, moreover the “beautiful women in it”—reminding us that grandiosity has its pitfalls—“God Bless America” could easily ascend the ladder as a 2017 rally cry. “Well, it’s the God word, but the phrase has wider meaning. It’s more of a sentiment. When I wrote it I didn’t feel like it was confined to a traditional portrait of the Lord, as some sects might see it. It was more like, ‘Fucking God bless us all and let’s hope we make it through this. When all the Women’s Marches were happening, I had already written this song, because I had been hearing a lot of things online. And I have a sister, and a lot of girlfriends, who had a lot of concerns about things that were being said in the media by some of our leaders. And I saw an instant reaction from women, and I was like, ‘Wow. There is no confusing how women are feeling about the state of the nation.’ And so without really trying to, I felt compelled to just write a song and say we are all concerned. And it really made me think about my relationship with women. And I felt proud of myself, because I do love the women in my life. And I take care of them, and I ask them what they think about music, and guys, and problems, and I thought it was so cool that I’m really right there in the same boat with them. And sometimes I’m not. Sometimes I feel like I’ve got my finger right on the pulse of what’s going on, and then some of my music comes out and it’s like, ‘Fuck, that was a miss. Fuck, that’s not what people feel, at all. But with this, I was right there with everyone.” In “God Bless America”… ‘Take me as I am, don’t see me for what I’m not… Only you can save me tonight.’ It’s about seeing people: what they’re actually doing. Who they actually are.”

Love - The last 16 months, things were kind of crazy in the US, and in London when I was there. I was just feeling like I wanted a song that made me feel a little more positive when I sang it. “ I knew that the first song I wanted to put out was “Love” because of everything you and I have been talking about so far. It’s just the age-old thing: love is all there is. And I really was feeling that way. I made a lot of records for myself, chronicling my own stories, and I’ve played so many shows now, I’ve seen all the same kind of kids and grown-ups coming to the shows, and I really wanted to make a record for them.” (x)

Lust For Life -  “I’ve been friends with Abel [Tesfaye] from The Weeknd for a long time, and I knew I wanted to put the title track, “Lust for Life,” out second because we have so many mutual fans and I knew they would love it.”I love the new song, too. I’m glad it’s the first thing out. It doesn’t sound that retro, but I was listening to a lot of Shangri-Las and wanted to go back to a bigger, more mid-tempo, single-y sound.” “I have let myself go a little with the song ‘Lust For Life’… I have worked on it on multiple days a week for one and a half years. It has passed every stage, it started with a futuristic and dark vein like Blade Runner. Also, I decided to return to a radiant Shangri-La like style… After working for some months, Abel (The Weeknd) joined to add his part. This song became my baby, an unmanageable and maleficent baby which made me crazy. I quickly understood that this album would sound like a trip, a mix.” (x)

“I kinda want to dig into a little bit more of the acoustic side of the record. I have a track called ‘Yosemite’ which i really like, which is just a little bit more laid back, it’s kind of a love song that I did all in one take in the room.” The co-existence of different songs on the same album, like the very complex ‘Lust For Life’ with the desert-like ‘Yosemite’, it is not very reasonable. One tries to put me off, one tells me the contrast is too extreme, but I love the two songs too much to exclude one because of the other one. These are the songs which make me life, and more than that, as well: they have some experience.” “Songs like ‘Tomorrow Never Came’ and ‘Yosemite’ pick up the sounds of 70s folk, and if I would have to create an album concept in a day, it would surround the legendary Laurel Canyon particularly.” “ It just goes back to my favorite song on the record, “Yosemite,” and doing it for the right reasons.” “I think one of my favorite tracks on the record is called “Yosemite.” The chorus is [begins to sing] “We did it for fun, we did it for free, I did it for you, you did it for me, we did it for the right reasons.” -  possibly changed to Get Free

Coachella - Woodstock in My Mind - “I wrote on my way home from Coachella when things were getting hostile between North Korea and the U.S., and all those failed missile launches, which happened the day after the first night of the festival. I feel lucky to be able to speak my mind through music right in the present moment.”

Roses Bloom For You (Snippet)

How to Learn a Run

Part of being a mallet percussionist is learning how to play fast runs. Mallet players always want to play them, they compliment phrases nicely, and they’re flashy. However, when you hand someone a run, they struggle. Being that I just got back from a drum corps weekend where we broke down a lot of runs in the show (including a 4 measure long 16th note run at 155bpm, with inside independents), I’ll share some tips that help me out when learning runs!

1. Write in your notes

This is typically something you should take 5-10 minutes doing anyways. Sight-reading music is great, but writing in notes helps you know exactly what notes you’re playing. It’s hard to tell from far away sometimes, especially with notes above and below the staff, if the note is on the ledger line or off, or if the accidental from the last measure carried over, or just little reminders that it’s a Bb, not a B natural. Now, you don’t have to write in every note, but you can. I found that writing starting notes, ending notes, turnarounds, and jumps in, and assuming everything else is linear works for me. If a part repeats, like measure 40 above, write in the pattern, and then it changes on beat 4, write in the change. 

2. Don’t play it
No but seriously. 

If you’re playing a run and can’t get it, literally put the mallets down and just visualize it. Figure out the shape, use all of those notes we wrote in, turnarounds, accidentals, jumps, figure out where your hands go. going through it with just your fingers or just airing through it can sometimes help you figure out muscle memory. Too often does an instructor say “Okay, go back to C, look through what we just played,” and people immediately just start hacking. Literally look through. Sometimes the mental aspect of it factors in a lot. Just knowing the shape of the run helps. 

3. Slow it down
Naturally, we see a fast run and immediately want to lay into it at show tempo. We tend to learn it wrong, make bad habits and wind up playing wrong notes…not to mention get chopped out quicker. Play it slow. Go through it way under tempo. Try to get through it continuously slowly. Once you get it at a reasonable tempo, throw in a few reps of the actual tempo, see how you’re doing. If you can move your hands in the shape of the run, sometimes it happens. Wrong notes here and there but you get close. 

4. Break it down
There are parts of runs sometimes where you nail a measure, nail a measure, but can’t nail both measures. Or you can’t hit a turnaround or skip in a measure. Break it into two chunks. 1e+a 2e+a 3, 3e+a 4e+a 1. Play them separately but with rests in between. After that gets comfortable, do them like you did, and then add the run together. 1e+a 2e+a 3, 3e+a 4e+a 1, 1e+a 2e+a 3e+a 4e+a 1, with about a beat of rest in between each phrase. It helps a lot. I actually have my front ensemble play a variation on Green/Krauss scales called Sprints, which is literally that. CDEFGFEDC rest CDEFGFEDC rest CDEFGABCD, and then when you do the final run at the end, CDEFG rest GABCD rest DCBAG rest GFEDC rest, and then the whole run fast up. So it kind of breaks that C-to-high-D run down into it’s own thing. Definitely a good technique. Also what can help is doing that, and then adding on the next sixteenth note partial everytime you get comfortable. 1e+a 2, 1e+a 2e, 1e+a 2e+, etc. Helps build continuity. 

5. Don’t abandon the approach
Too often, people will do all of this, do everything right, and then still when they’re learning it and they go too fast too quick, they freak out. They tense up and squeeze and lock their wrists and play from the elbow and get no organic rebound and are working for every note. No technique in the WORLD teaches anything completely arm based. Think about your technique, it’s there for a reason. Keep loose, keep the right grip in your hand, stroke from the wrist, use your arm as a shock absorber almost. When playing on a keyboard, there’s no rebound like a drum, we create our own rebound with our stroke. So in order to do that, you have to have that piston stroke and bring it back up and let your arm breathe and let the mallet bounce up. Also all too often, people think FAST RUNS = NO FINGERS, PUMP PUMP PUMP. Not entirely true. You should make sure you have your clear fulcrum on the mallet and your back fingers around the stick. There can be breathing room cause you’re not squeezing, but keep your fingers on the stick and let that shock absorbing bounce happen but control it. 

If you do all 5 of these things, I can almost guarantee you’ll be able to play any run. Note: most of the things I just said are mental. Obviously chops are a big part, but if you make chops the only variable in the equation and do all of the other work, you will be fine. 

Coming soon: How to Play Chords Easier Than You Think!


Get lost in the sparkles ✨ 💖 #spaceagepop #loungepop #psychpop ⠀
• #psychedelic #psychedelia #spaceage #retro #hauntology #trippyart #trippymusic #experimentalpop #mellotron #dcmuseums #wonder #renwickgallery #chandelierporn #sparkling #sparkly #sparklelights #lullaby #twinkle #twinklelights #retromusic #spacedout #vibraphone #vocalimprovisation

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This is the place where I had spent most of my time as an exchange student, the percussion room. It’s so cool because we’re only 2 percussionists so that means that basically I have the room for myself almost all the time. Also living 5 minutes from the school of music allows me to do night practice which is highly effective for me. Oh darling, I’m gonna miss this place.
Btw, it’s quite messy hahaha


Lionel Hampton performing “Flying Home” on television in 1957.

I love this music, and though I can’t explain why, the vibraphone inspires in me the notion for a cocktail.