Orchestral Drum Kit Free Download

The percussion section first carved out its place in the orchestra as a result of the vogue for Turkish marching music in Mozarts time, bringing bass drums, snare drums, triangles and cymbals into play. But it is since the start of the 20th century that the variety of other percussion instruments has really taken off. Untuned instruments such as gongs from east Asia or tuned instruments like the marimbas of Africa have been adopted and adapted for use in the modern orchestra. Today composers take a truly global approach to using percussion instruments. This process is further encouraged by the percussionists themselves, many of whom are enthusiastic adopters of new instruments and pride themselves on perfecting their skills with an enormous range of instruments.


An ancient apparatus, it has universally spiritual connotations as a call to prayer, a summoning of the gods, a funeral rite. Gongs come in all sizes, but tam-tam usually refers to very large ones, frequently of Asian manufacture, with an indefinite pitch and a mind of their own. Once a gong is hit, the sound cannot be controlled. In practice, orchestral composers use the gong for evoking Asian ambience or simple majesty. Like the cymbal, the gong is always noticed.



orchestral drum kit free download

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Someone once said that if the snare drum is the strident sergeant barking orders, the tenor drum is the chaplain, less aggressive perhaps but no less insistent. Slightly larger than the snare, the tenor drum has a similar construction but no snares. Despite its more sombre quality, the tenor drum is ideal for conveying complex rhythmic patterns.


The suspended cymbal is a single cymbal mounted on a stand and used either for a spangled rhythmic emphasis or, more interestingly, for a roll. Many different kinds of beaters can be used, and what makes the roll of a suspended cymbal unusual is a huge dynamic range that goes from a fragile shimmer to a roar. An occasional orchestral instrument, the suspended cymbal is found on every drum kit in jazz and rock, including the one Salonen uses in his Violin Concerto.


This hand-held hoop drum with metal plates called jingles, hit with the fingers, fist or knee (or all three), easily signals high times, often by encouraging frenzied dance or summoning gypsy fantasies.


The more sophisticated uses for the tambourine include playing it with snare drumsticks and rubbing the thumb across the head to create a roll with the jingles, which can be quite attractive at quiet volumes.


Orchestral percussion refers to the various percussion instruments used in an orchestral setting. It may also refer to the act of playing such instruments in an orchestral style. Many music schools and conservatories offer training for musicians interested in developing their skills as orchestral percussionists. Typically, an orchestral percussionist does not specialize in one particular instrument. Although there is no exhaustive list of all instruments that an orchestral percussionist must be able to play, there are particular instruments that are frequently used in the orchestral repertoire. This includes timpani, snare drum, bass drum, xylophone, glockenspiel, triangle, and tambourine.


Mallet percussion (also known as a keyboard or tuned percussion) is the general name given to the pitched percussion family. The name is a slight misnomer, in that almost every percussion instrument is played with some type of mallet or stick. With the exception of the marimba, almost every other keyboard instrument has been used widely in an orchestral setting.


Another keyboard instrument used in the orchestra, as well as jazz, is the vibraphone. The most commonly requested excerpt for vibraphone at orchestral auditions is from Leonard Bernstein's "West Side Story." The "Little Blue Devil" movement from "Seven Studies on Themes of Paul Klee" by Gunther Schuller is also frequently requested.






In an orchestral setting, the concert bass drum plays an integral role in the overall feel of a piece of music. In orchestral literature, the bass drum usually deals more with coloring and shading the sounds of the orchestra as opposed to providing a solid, rhythmic foundation like in marching band drumset. The bass drum is usually used to accent strong points in the music and is often combined with a cymbal crash to further accentuate the moment. In fact, the two instruments are used in conjunction so often that many parts simply contain one rhythm and the composer then indicates which instruments are to play at which points.


Though the bass drum is possibly the least frequently requested instrument at auditions, it actually takes a fair amount of skill to play correctly. Given the number of variables that can change when playing the bass drum (beater, beating location, amount/type of muffling, stroke, etc.), a well-versed percussionist is usually required to obtain all the possible sounds from the instrument.


Some important excerpts for the bass drum in orchestral literature include Stravinsky's The Rite of Spring, Tchaikovsky's Symphony No. 4, Romeo and Juliet, and 1812 Overture, many of the Mahler symphonies (most notably his third), and Symphonie Fantastique by Hector Berlioz.


The snare drum is one of the most easily recognizable instruments in the entire percussion section. Also called the side drum, the snare drum is often used as a means of accenting rhythms from other families of instruments within the orchestra or as a soloistic type, particularly in pieces that may have a "military" type theme or sound to them.


The snare drum works extremely well as an accentuating instrument. Tuned and played correctly, it can produce sounds ranging from quick, short, and snappy to thick, warm, whip-crack-like accents. There are numerous examples in music of the snare drum being used in this fashion. One such example would be the fourth movement of Nikolai Rimsky-Korsakov's symphonic suite Scheherazade. In this particular example, the snare drum is used to accentuate the various crescendos and "hits" played by the rest of the orchestra. It is also used to reinforce the rhythms played by the trumpets throughout the movement.


As a soloistic instrument, the snare drum has certainly found its place in classical music. A fantastic example of this use of the snare drum would be the opening of Sergei Prokofiev's Lieutenant Kijé suite. After an opening trumpet solo, the snare drum plays a rather short, military-style solo at a pianissimo dynamic marking, designed to create a march-like feel. This particular part presents a number of problems for the orchestral percussionist, but its main difficulty lies in keeping the various rudiments (flams, four-stroke ruffs, etc.) consistent at such a soft dynamic level.


There has been a marked deviation from high-sticking, traditional drumming to a forced low-stick style. Various techniques of the snare drum include the Moller method, the Gladstone method, and other lesser methods.


Much like the bass drum, the concert toms are meant to add color and shading to orchestral music. However, it can also be used much like the snare drum. In fact, the snare drum can have the snare off, producing a high tom sound. Depending on the composer and/or music, the concert tom can be used as both. It gives a warm but sharper tone due to its size, being between 8 and 16 inches in diameter, whereas the concert bass is 30 to 45 inches. Factors such as the feel of the piece and the time period in which it was written are taken into account when using the concert tom.


Crash cymbals have been used in an orchestral setting since the time of Mozart when he adopted their sound from traditional Turkish bands to be used in his opera Abduction from the Seraglio. Since then, crash cymbals have become one of the most written for percussion instruments in classical music and they are easily one of the most recognized sounds within the orchestra.


Associated Board of the Royal Schools of Music, Trinity College London and London College of Music provide examination for orchestral percussion player. Candidates perform a balanced programme of three pieces, one chosen from mallet percussion song list, one from snare drum song list and one from timpani song list.


I've been composing orchestral pieces that are marketable for sync licensing or I should say I've been practicing composing orchestral pieces. I've been having a hard time producing strong drum sounds like the ones you hear on movies trailers. All the drum sounds that I have sound really weak. I know i have to use filters and EQ but I've had zero success. Any tips of how I can produce loud, strong drum sounds? Thanks!


This is the orchestral percussion portion of a multi-part percussion library I put together during my final year of university. For a few years now, this library has been a secret sauce/garnish that I would blend into my other paid and professional libraries and figured it was about time to share!


Hands down one of the best free orchestral percussion instruments I've found! The recording sound quality is excellent, a lot of nice low end on the bass drums. A really nice feature in the snares is the keys for rolls, hits, and short rolls. I find that with a bit of practice, I can get some super realistic sounding technical rolls. Each preset is great, it would be cool to have them all as one instrument, but switching isn't bad. I've been using combinations of the bass, snares, and toms which all sound great, but I am looking forward to using the chimes more. The GUI gives 3 mic positions for mixing and has a cool theme. A huge amount of use will come from this instrument!


Level 360 Technology extends the level playing surface of the drumhead 360 degrees around the drum. The vertically enhanced collar design guarantees even contact with the edge of the drum shell, creating a perfectly level fit.

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