Percussion section leader for the Royal Liverpool Philharmonic Orchestra, Matthew Brett takes us through the magic of the triangle, one of the orchestra’s most versatile instrume
Nice to hear the triangle get its day, but there's a lot here I wish they covered:
1. The only triangle part I can name off the top of my head is the beginning of the last movement of Dvořák's Cello Concerto. I'd love to know, what are some pieces that really make the triangle shine? What are some of Matthew's favorites?
2. What are some prominent audition excerpts?
3. Since you can make different notes with different triangles, do composers consider the triangle to be a pitched instrument? (I.e., would it be written as various notes, or would it be written like non-pitched percussion instrument where it's just on a single line on a stave?)
4. Are there instances where the composer gives specific notes about how they want the triangle played?
5. Why is a corner (vertex?) cut out of most triangles? When did that start happening? And are there occasions where you don't want the corner cut out of it?
The thing is you can hear the triangle over every other instrument. If you don't play it, almost nobody will miss it, but if you play it badly, everyone will hear the mistake
I was 1 of 2 “assorted percussionists” in my middle school band (meaning we played every percussion except snare, bass, or drum set). 20 years later, all of these instruments still have such a special place in my heart! Marimba, timpani, triangle, glockenspiel, shakers, cymbals, cowbell! Stephanie and I had it covered!
Cool, as always, more complex than it appears at first glance.
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1. The only triangle part I can name off the top of my head is the beginning of the last movement of Dvořák's Cello Concerto. I'd love to know, what are some pieces that really make the triangle shine? What are some of Matthew's favorites?
2. What are some prominent audition excerpts?
3. Since you can make different notes with different triangles, do composers consider the triangle to be a pitched instrument? (I.e., would it be written as various notes, or would it be written like non-pitched percussion instrument where it's just on a single line on a stave?)
4. Are there instances where the composer gives specific notes about how they want the triangle played?
5. Why is a corner (vertex?) cut out of most triangles? When did that start happening? And are there occasions where you don't want the corner cut out of it?
Two Set Violin (YouTubers) have an epidode from many years ago called "Why being the conductor is the hardest job"
Go to 7:28 where Bernstein (?) is briefly working with triangles. It was their moment in the spotlight.