Top 40 Percussion Quotes

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.

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.

Since I was a child, I was yearning to learn about percussion because that’s what I loved.

I love the percussion. It’s a right brain, left brain thing. There are different beats, but cooperating together. It’s your whole body doing it, you’re doing the snare drum and the high top with your hands and the bass drum with your foot. You’re this whole motion machine.

‘Music for Strings, Percussion, and Celesta’ is a kind of expansion of chamber music.

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.

I grew up playing classical piano and percussion.

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.

As a kid, I took piano lessons, and I didn’t like it. It wasn’t cool. I was into Duran Duran and rock music. I didn’t have any interest in piano. I did it for three years, and because of piano, I learned percussion. I learned scales. I learned how to sing. Piano gives you all of the basics of those things.

On an ideal Saturday night, I’ll go to the New York City Ballet, where my friends play 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 played in the percussion section 4th grade through high school – snare and timpani mostly.

I read and write classical piano and percussion, also guitar.

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.

People don’t realize how much it means to your music to record on tape, whether it be for new music or old music. People don’t realize how much or how imperative it is to use actual hardware when making drums because those are actual percussion samplers. They’re hardware instruments that are made to have the drum hit.

The thing about playing percussion is that you can create all these emotions that can be sometimes beautiful, sometimes really ugly, or sometimes sweet, sometimes as big as King Kong and so on. And so there can be a real riot out there, or it can be so refined.

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.

I’m more a percussion instrument than a dancer.

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.

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 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.

I got in the school band and the school choir. It all hit me like a ton of bricks, everything just came out. I played percussion for a while, and stayed after school forever just tinkering around with different things, the clarinets and the violins.

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.

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.

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 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 like music more balanced between the voice and the guitar and the percussion. I don’t like heavy metal.

That’s how we grew up – kinda like Pops would put his drums, his percussion and instruments into the car and we would just go to a facility in the Bay Area and he would say to us, ‘You think we have it bad? There are people worse off than we are. Let’s go give back to the kids.’ And that’s how we grew up.

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’ve been down there 6 times and there’s nothing like Brazilian percussion.

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 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 really just wanted to play the drum set and match that. I was never really into the percussion thing.

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.

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.

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.

The age of the rock star ended with the passing of physical product, the rise of automated percussion, the domination of the committee approach to hit-making, the widespread adoption of choreography, and, above all, the advent of the mystique-destroying Internet.

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.

Rhythm was a very strong element in KVM’s music. He used to be called Udukkadi Mannan, because of his wide use of percussion instruments, which included ghata sanjari.

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.