Tchaikovsky’s Symphony #6 includes one solo soft gong (tam-tam) note in the last movement. Ask any orchestral percussionist, playing this note at just the right dynamic level can be a tricky ordeal. Last week, while playing this part with the Boston Symphony at Tanglewood, I had plenty of time to think about the issues involved. While it went well and I felt very good after the performance, it didn’t hurt that a long standing colleague in the percussion section complimented me on the solo note!
Here are some tips to remember when playing gong/tam-tam:
Want to learn more? Watch this video lesson I did for Zildjian.
Hello, Mr. Grover – I was trying to recall the name of the piece that had “The” gong solo, and found your post. I had the great opportunity to play the same gong solo during the 1971 All State Orchestra in Lincoln, NE (senior year in high school). I normally played in concert and marching bands, but the concert band snare drum position had already been filled, so I auditioned for the orchestra. What a wonderful twist of fate, because the conductor was Carmen Dragon !
You said the piece “includes one solo soft gong “. Mr. Dragon did not want it soft at all. Although there were pieces in high school when a gong was played, it wasn’t very much. So, this was my loudest and most important gong strike ever. You are so right about warming it up. Mr. Dragon played an example of what he wanted, and without the priming (which no one is supposed to hear), it just doesn’t sound right. And it comes at such a crucial place in the piece.
Thanks for sharing this little gem that all percussionists should have a crack at.
BRgds,
Dave Homan
Dave – thanks for sharing your story!