show Bea 1:57, a beautiful effect on the drum… is that a Persian drum? Manj can make a similar sound on the jembe by creating tension… one hand dampening the drum, hand flat on the skin while the other taps.. can’t remember exactly how he does it. Another favourite sound of mine is making a cymbal sing or scream or moan, holding the drumstick perpendicular to the cymbal with a lot of pressure pushing it across/around the cymbal.
when i asked my brother what the effect is called he didn’t know but made me a quick vid
Another effect on the jembe.. when you have your arm inside the jembe and pull it out as you hit the skin with the other. It sounds a bit like the drum in the into to the Suspiria theme 0:54 on the youtube vid of the soundtrack posted bellow
That deep bounce that can also be made on the talking drum by releasing and returning pressure to the skin by squeezing the stringed sides. That deep bounce is also similar to the tabla
That deep bounce is also similar to the baya tabla – the larger tabla
around 35min the tabla solo starts
Just brainstorming percussion ideas/insperation. I’m sure there are many many different world drums that make a low bouncing sound. In that particular track on the Susperia soundtrack the drum creates tension.
I would like to make different make shift cymbals and percussion, as well as using midi and borrowing stan’s jembe. I started trying to make mallet last night with a paint brush and some wax. I need to check charity shops and music shops for little glockenspiels to make a kind of lullaby/music box theme
Typically, macro-tension will be used to transition into a drop, chorus, breakdown, bridge, or outro. It often includes:
- Risers (white noise, pitched risers, etc.)
- Snare rolls/builds
- Automated filtering and other effects
- Melodic and harmonic tension
- Change in volume
- Removal and/or addition of new instruments and sounds
It’s hard to define this high-level view of tension, partly because it’s often subtle, and also because it’s never clear-cut.
What is micro-tension?
It’s the small differences: short fills, a one-bar break, the removal of a kick drum at the end of an 8-bar phrase, the crash cymbal at the start of a new phrase.
Its purpose is to create constant tension, keep the track moving forward, and force the listener to stay interested and engaged.
Listing all types of micro-tension would be impossible as there are simply too many. Micro-tension doesn’t just include your typical crash cymbal impact, a short drum fill, or a funky vocal stab, it also includes tension in chord progressions and melodies.
It needs to be considered both in the composition stage and arrangement stage.
- Use deceptive cadences. A cadence is usually the last two chords of a progression. For example, a song in G major might end with the chords D7 G. That’s a very predictable cadence. But you can create a pleasant build in tension by ending a phrase on a less-common chord: G C D7 Em for example, or perhaps G C D7 C. As soon as you hit that unexpected chord at the end, it creates tension, allowing you to do the progression again, but ending on the more expected tonic chord: G C D7 Em G/B C D7 G.