Is there a more exciting instrument than the crash cymbal? You know, the explosive one that shakes you up, and maybe wakes you up, often when you least expect it. Even when other instruments are playing at triple forte, the clash of the cymbal will break through.

The cymbal, often associated with religious rites, military observances and dance, is an ancient instrument. It’s famously mentioned in the Old Testament. (“Praise him with the clash of cymbals.”) In the 17th century, Armenian alchemist Avedis Zildjian developed a combination of copper and tin (and possibly a sliver of silver) that produced the perfect sound and is most similar to the cymbals used today. (The company he started in the 17th century remains one of the biggest sellers of cymbals.)

Carl Maria Weber was among the first composers to incorporate the cymbal into music, in his 1826 opera Oberon. But leave it to the bombastic Richard Wagner to really popularize the instrument, particularly in The Ring Cycle (1874). The romantic period’s emphasis on turbulent emotion seemed to demand more of the cymbals’ use.

Crash cymbals, which can be played by, yes, crashing two instruments together or with a drumstick, are used to emphasize a rhythm, to propel the music forward, to build up a frenzy. Watch Minnesota Orchestra percussionist Brian Mount give a tutorial, then listen to some of these prime examples of, um, cymbalism.

Classical legacy

“Toreador,” from Carmen, by Georges Bizet: Here’s a classic case of how the cymbals urge the music forward, rather than just serve as percussive punctuation.

Finale, Symphony No. 2, by Pyotr Ilyich Tchaikovsky: This work is a veritable cymbal festival. Listen to how the sound builds and picks up intensity, led by the insistent instrument.  

“Overture” from Carnival, by Antonin Dvorak: The exuberance of Dvorak’s work celebrating life and merriment would be nothing without the cymbal’s distinctive clash.

“In the Hall of the Mountain King” from Peer Gynt, by Edvard Grieg:
This iconic work starts slowly and escalates into a whirling fury, aided, of course, by the cymbals hitting the off beats.

Also Sprach Zarathustra, by Richard Strauss: Indelibly linked with the 1968 film 2001: A Space Odyssey, the majesty of the horns and strings give way to that supernova of a crash.  

Beyond classical

The Stars and Stripes Forever, by John Phillip Sousa: Percussion is a staple of marching bands, and Sousa was a master of its use, particularly in arguably his most famous march.

“I’m Just a Singer (in a Rock and Roll Band),” by the Moody Blues: Rock bands most often use drumsticks on their cymbals, and sometimes they get pretty wild. Moodies drummer Graeme Edge propels the progressively faster intro with his extravagant cymbals and gets the last word, as well.

“Working for the Weekend,” by Loverboy: Cowbell paired with crashing cymbal starts off this fervent tribute to hedonism.

“Runaway,” by Bon Jovi: Watch drummer Tico Torres put an exclamation point on the lyrics (questionable ones to be sure, but hey, it was the ‘80s) at the 2:40 mark.

Lastly, enjoy this “oops” moment salvaged by a young musician.

You just can’t ignore cymbals. And that’s why they’re the best instrument ever!

Is the cello the best instrument ever? Its rich, mellow tone creates a warm and enveloping sound. It also has a broad range, able to match a bass or a violin. Considered the closest instrument to the human voice, it thus is highly expressive.

Part of the violin family that emerged in the 1500s, the earliest surviving cellos were made by Andrea Amati of the famous Italian family of luthiers (makers of string instruments).

The cello was a favorite of many composers including Johann Sebastian Bach, Antonio Vivaldi and Ludwig van Beethoven, who all wrote concertos for the instrument. It has given us masters (Mstislav Rostropovich) and superstars (Yo-Yo Ma). And it has lent gravity and depth to popular music, from the Beatles to Nirvana.

Take a listen to some great works featuring the cello.

Classical legacy

Cello Suites (Bach): The legendary Pablo Casals popularized this work, becoming the first cellist to record all six suites in the 1930s. Unlike Bach’s other suites, the movements are considered an intentional, flowing cycle, rather than a discrete series of pieces. Here, János Starker, who won a Grammy for this work, plays the First Suite.  

Cello Concerto No. 1 (Joseph Haydn):  This concerto, composed in the 1760s, was presumed lost until a copy of the score was uncovered in Prague in 1961. It has since become a staple of the cello repertoire, perhaps because it gives the cellist the opportunity for a grand cadenza (an improvised or ornate, showy part) near the end of the first movement. Here, the great Rostropovich shows his chops with a cadenza (7:32 mark) written for him by Benjamin Britten.

“The Swan” (Camille Saint-Saëns): This movement from the composer’s 1886 suite, The Carnival of the Animals, employs the cello to approximate the bird’s languid motion. It was the only movement from Carnival that Saint-Saëns allowed to be played during his lifetime, considering it to be less frivolous than the rest of the suite. “The Swan” famously has been used to accompany ballet performances (notably by Anna Pavlova) and figure skating routines. Here’s Ma’s interpretation.

Cello Concerto (Antonin Dvorák): Composed in 1895 while Dvorák was teaching in New York, this work was inspired by Victor Herbert’s Second Cello Concerto and its ingenious use of the instrument’s upper registers, which Dvorák had previously regarded as limited. He sets up the cello in dialogue with the other musicians (particularly the brass), rather than in a virtuoso showcase. Watch Jacqueline du Pré put her stamp on the concerto during a 1968 concert honoring the besieged people of Czechoslovakia.

Variations for Cello and Piano (Samuel Coleridge-Taylor): This work was composed in 1905, lost for a dozen years and published in 1918, after Coleridge-Taylor’s death. The lovely minor-key melody is reinterpreted in four short movements, each with a distinct mood. Listen to the cello’s sinuous interplay with the piano.

Tre Momenti (Matilde Capuis): Italian pianist/composer Capuis lived a long (104 years) and sometimes difficult life. This work reflects her youthful suffering (particularly in the second movement, “Solitudine”) and the optimism she regained in later years (in the third movement, “Allegrezze”). Here’s cellist Raphaela Gromes on that movement.

Beyond classical

“Eleanor Rigby” (the Beatles, 1966): George Martin’s arranging brilliance was on full display in this Fab Four classic, which helped cement the group’s status as sophisticated musicians. The chopping strokes from two cellos provide a melancholy complement to the plaintive violin.

“As You Said” (Cream, 1968):  The celebrated trio combined cello and guitar in this lesser-known track from its album Wheels of Fire, creating a psychedelic and distinctly un-Cream-like sound.

“Cello Song” (Nick Drake, 1969): This song features the cello! To be more precise, cellist Clare Deniz, acting as a counterpoint to the guitars and conga drums and grounding Drake’s sorrowful lyrics.

“Mr. Blue Sky” (Electric Light Orchestra, 1978): As befits its name, ELO incorporated strings of all stripes into its music. Listen at the 4-minute mark as the cellos lead the symphonic shift that closes out the song.

“Viva la Vida” (Coldplay, 2008): The looping strings provide the uplifting riff throughout this song (unusual for the piano/guitar-driven group) and take over in a show of orchestral power at the end.

And check out the cello quintet String Theory playing all the parts of the song in this arrangement, highlighting the instrument’s many capabilities.

“Foxglove” (Murder by Death, 2010):  Cellist Sarah Balliet adds the sonic variations and color to husband Adam Turla’s vocals and guitar on this song, a prime example of the band’s brand of “gothic folk.”

 Now that you’ve heard the many moods of the cello, you’ll agree it’s the best instrument ever!

Is the trumpet the best instrument ever? With its clear and bracing tone, it is perhaps the most recognizable of instruments, able to issue a clarion call or herald a monarch (or an Olympic champion) with ceremonial fanfare. As the soprano voice of the brass section, it often carries the melody.

It is also one of the world’s oldest instruments. Early versions were used as signaling devices for hunting or battle, and often were created from shells, bones or horns (such as the shofar, used in religious ceremonies). Primitive silver and bronze examples from ancient Egypt (circa 1500 BCE) were found in Tutankhamun’s tomb.

In the Middle Ages, improvements in metal-making and design led to the instrument’s use for musical purposes. The Baroque era (about 1600-1750) became known as a golden age of the natural, or valveless, trumpet, with many works written to highlight the instrument.

But it was the development in the 1800s of keys and valves, spearheaded by Austrian trumpeter Anton Weidinger, that unlocked the trumpet’s full range of notes, revolutionizing its capability to play melodic parts and leading to the prominence it enjoys in both classical and popular compositions.

Here are some notable works showcasing the versatile trumpet.

Classical legacy

Trumpet Voluntary (Jeremiah Clarke): This sprightly-yet-regal piece became No. 1 for nuptials after it was famously used at the 1981 wedding of Prince Charles and Lady Diana Spencer. Composed in about 1700, it indeed has a royal pedigree; it is alternately called The Prince of Denmark’s March. For years, it was misattributed to Clarke’s contemporary Henry Purcell, whose similar Trumpet Tune also is a bridal staple.

Trumpet Concerto in D (Georg Philipp Telemann): The trumpet isn’t all fanfare; this piece displays its aptitude for subtlety. The high register of the “Adagio” movement was typical of the Baroque era and requires great stamina on the part of the trumpeter.

“Finale,” William Tell Overture (Gioachino Rossini): If your heart isn’t pounding and your hair isn’t standing on end when the trumpets gallop in with this iconic fanfare, check your pulse. The thrilling finale to Rossini’s opera is officially titled “March of the Swiss Soldiers,” but you might call it The Lone Ranger theme.

“Promenade,” Pictures at an Exhibition (Modest Mussorgsky): During Minnesota-born trumpeter Adolph (Bud) Herseth’s tenure as principal trumpet of the Chicago Symphony Orchestra, the ensemble recorded seven versions of Mussorgsky’s majestic work. Here is a compilation of those opening “Promenades,” spanning from 1951 to ‘90, highlighting Herseth on the glorious opening solo. Note the differences in tone and tempo.

“The Girl With the Flaxen Hair” (Claude Debussy): Listen to trumpeter extraordinaire Mary Elizabeth Bowden’s almost ethereal rendition on the piccolo version of the instrument, which is much smaller in size and pitched an octave higher than the standard trumpet. It might be the closest thing to a trumpet lullaby.

Bugler’s Dream (Leo Arnaud): It’s an Olympic year, so naturally we’ve got to include the stately trumpet flourish that ABC first played as a backdrop to the Winter Games in 1964, cementing its medal-winning status. Arnaud composed it in 1958 as part of The Charge Suite, commissioned by Felix Slatkin, who conducts it here.

Beyond classical

“Caravan” (Duke Ellington): Jazz trumpet is a genre all its own, with its distinctive rhythms and use of the mute: Think Louis Armstrong. If Armstrong was the king of the jazz trumpet, Valaida Snow was the queen. Sometimes called “Little Louis,” Snow blazed her own trail as a vocalist and trumpet player, showcasing both talents on this Ellington tune recorded in 1939.

Venus de Milo (Miles Davis): This track, composed in the late 1940s and included on the seminal 1957 compilation album Birth of the Cool, is testament to Davis’ ability to straddle big band and jazz — perhaps the birth of fusion, as well as cool.

Spanish Flea (Herb Alpert & the Tijuana Brass): Transport yourself back to the swinging ‘60s with this peppy tune written by Julian Wechter but popularized by magnetic trumpeter/bandleader Alpert. Its heavy use on the TV show The Dating Game lent credence to the notion that the trumpet can be mighty seductive.

“Penny Lane” (The Beatles): Paul McCartney enlisted English orchestral trumpeter David Mason to perform the brassy flourish on this 1967 classic after hearing him play on J.S. Bach’s Brandenburg Concerto No. 2. Mason’s work on the piccolo trumpet (so high that some listeners assumed the audio was sped up) lends the tune the distinctive music-hall sound that McCartney loved.

“Questions 67 & 68” (Chicago): The 1970s saw the rise of the horn-driven band, and there was none greater than Chicago. Here’s a deeper track from 1969 that features a lushly cascading trumpet intro and pulsating accents throughout, punctuated with an up-tempo bridge.

MacArthur Park (Maynard Ferguson): The trumpet icon’s extended version (10 minutes!) of Jimmy Webb’s 1968 classic pop song is a glorious rendition that will have you forgetting those dopey lyrics. The high notes defy gravity!

The trumpet is responsible for some of the most iconic passages in music. It can be authoritative, stately or playful. And that’s why it is the best instrument ever!

Are the timpani the best instruments ever? They are distinctive among percussion instruments in their ability to sound different (and even play a kind of melody) depending on how they are tuned, what the mallets are made from, and where and how hard they are struck. They can sound dull or thunderous, heavy or velvety, resonant or hollow, and thus can mimic a multitude of emotions.

Timpani, or kettledrums, evolved from military use to become a staple of classical music in the 18th century. Today, they are heard in all genres.

Classical legacy

Tonet, Ihr Pauken! Erchallet, Trompeten! (Johann Sebastian Bach): This cantata (which Bach reworked into his Christmas Oratorio) translates to “Sound Off, Ye timpani! Sound, Trumpets!” And the piece indeed starts with a timpani solo as the chorus and drums trade the melody back and forth.

“Scherzo,” Symphony No. 9 (Ludwig van Beethoven): The composer was a champion of the timpani, bringing them into more common usage with complex compositions that highlighted the instrument. Here he sets the timpani against the orchestra in a call and response of sorts.

“Sunrise,” Also Sprach Zarathustra (Richard Strauss): The timpani’s heart-pounding response to the rousing fanfare that opens Strauss’ tone poem is perhaps the most iconic percussion passage ever, thanks to its iconic use in the 1968 sci-fi film 2001: A Space Odyssey.

Concerto for Orchestra (Bela Bartok): The fourth movement, “Intermezzo Interrotto,” features 10 different pitches of the timpani over the course of 20 seconds — requiring the timpanist to retune the instrument every two seconds.

Concerto Fantasy for Two Timpanists and Orchestra (Philip Glass): This work was commissioned by several orchestras in 2000 for timpanist Jonathan Haas. For much of the concerto and especially the last movement, the timpani have an intense and near constant presence.

Beyond classical

“Countdown” (Dave Brubeck): This opener from his 1962 concept album Countdown — Time in Outer Space, was dedicated to astronaut John Glenn at the height of the space craze. Drummer Joe Morello puts an exclamation on Brubeck’s signature playful time signatures and tonal experimentation.

“Randy Scouse Git” (the Monkees): Take a deep dive into the Prefab Four’s oeuvre with this 1967 ditty written and sung by drummer Micky Dolenz, who provided the echoing timpani cadenzas that contrast with the lighthearted vaudevillian melody.

“White Room” (Cream): Ginger Baker’s singular talent contributes mightily to the sound of this 1968 rock classic. Listen for the distinctive quintuple meter opening in the timpani, which both Baker and singer Jack Bruce claimed credit for introducing.

“All We Ever Look For” (Kate Bush): The deep pulsating of Morris Pert’s timpani pairs nicely with Bush’s distinctive soprano (and the whistle of the Fairlight digital synthesizer) on this track from 1980’s Never for Ever.

The versatile kettledrums can evoke drama, tension and even playfulness across a variety of genres. And that’s why the timpani are the best instrument ever!

The oboe might be hard to master and suffer from a bit of an inferiority complex, but this distinctive woodwind instrument occupies a special and crucial role: It tunes the rest of the orchestra with its distinctive A note. It’s easy to hear over other instruments because of its penetrating sound, the result of its conical interior chamber and a double reed.

In 1695, Henry Playford wrote in his musical instruction book The Sprightly Companion that the oboe is “majestical and stately, not much inferior to the trumpet.” We guess that counts as high praise. In Tony Kushner’s play Angels in America, the instrument’s sound is described as “that of a duck, if the duck were a songbird.” Indeed, the oboe represents the duck in Sergei Prokofiev’s musical primer Peter and the Wolf.

That distinctive, plaintive sound has been used to great effect in classical and popular music and has been a favorite of many composers — Vivaldi, for one, wrote 15 concertos for the oboe! Here are some works that feature the instrument prominently.

Classical legacy

“The Arrival of the Queen of Sheba” (George Frideric Handel): This sinfonia opens Act III of the 1748 oratorio Solomon, based on the stories of the biblical king. This piece, often used as a wedding processional or recessional, features a joyful oboe duet (starting at 0:38).

Swan Lake theme (Pyotr Tchaikovsky): Not a duck but an elegant swan is conjured by the melancholy oboe in this main theme to the iconic ballet, written in 1875. It introduces the melody, relinquishes it and picks it up again in the closing bars.

Le Tombeau de Couperin (Maurice Ravel): Each of the six movements in this piece, written during World War I, is dedicated to a different friend of Ravel’s who died in battle. Here is the “Prelude,” written in honor of 1st Lt. Jacques Charlot.

Oboe Concerto (Ellen Taaffe Zwillich): This piece was commissioned in 1990 to honor the Cleveland Orchestra’s longtime principal oboist, John Mack. Gramophone’s reviewer remarked that it “agreeably exploits the instruments capacity for lyricism.” See if you agree.

Beyond classical

“Gabriel’s Oboe” (Ennio Morricone): In this main theme from the 1986 film The Mission, Father Gabriel (Jeremy Irons) plays his oboe to befriend the indigenous South American people. It’s such a popular melody that it has been adapted for other instruments including the human voice. But it’s best heard in its original form, here conducted by Morricone.

“Life in a Northern Town” (Dream Academy): Written in 1985 as an elegy to musician Nick Drake, the wistful oboe subtly underlines the nostalgic and, yes, dreamy quality of the song.

“Kiss From a Rose” (Seal): This hit, written in 1987 but released in 1994, appeared prominently on the Batman Forever soundtrack. Listen to how the oboe complements the vocals throughout this gorgeous ballad.

“I’ve Got You Babe” (Sonny and Cher): Who of a certain age isn’t transported back to the days of bell bottoms and flower power when they hear the piping oboe that punctuates the chorus of this 1965 hit?

These examples both old and new offer plenty of reasons why the oboe is the best instrument ever! 

Is there a more expressive or versatile instrument than the violin? It can sing; it can weep; it can growl. It occupies the prime spot in the orchestra and plays vital roles in other genres (folk, country, jazz, pop). It has spawned classical superstars (Joshua Bell, Hilary Hahn, Anne-Sophie Mutter). And just imagine Vivaldi’s Four Seasons or the Beatles’ “Eleanor Rigby” without it!

A descendant of the stringed Greek lyre, the violin as we know it was first produced around 1530 in Italy. It proved popular especially with European nobility, which commissioned instruments from the famous violinmakers Amati, Guarneri and Stradivari. Since then it has become the most indispensable instrument at concert halls and hoedowns alike. Find out more about its influence on the classical world and beyond.

Classical legacy

Chaconne, Partita No. 2 (Johann Sebastian Bach): Violin virtuoso Yehudi Menuhin called it “the greatest structure for solo violin that exists.” Joshua Bell, adding that it’s “one of the greatest achievements of any man in history,” famously played this piece while anonymously busking in a Washington, D.C., metro station in 2007. Here’s Bell, far from the madding crowd.

Sonata No. 9, “Kreutzer” (Ludwig van Beethoven): Known for its length and technical difficulty, this piece was dedicated to Rodolphe Kreutzer, one of the finest violinists of Beethoven’s day. Ironically, it left Kreutzer cold but inspired no less than Leo Tolstoy to write a novella in its honor. Listen to Itzhak Perlman’s interpretation.

Sonata for Violin and Piano (Amy Beach): The composer and her work, mainly written around the turn of the 20th century, were largely cast into obscurity until the past 50 years. But her Romantic style was well-received by her contemporaries, save for a few who found her derivative (“for which the feminine character furnishes ground and excuse,” one reviewer said). Here is the sonata’s opening movement.

The Lark Ascending (Ralph Vaughn Williams): The British composer’s poet wife, Ursula, commented that Vaughn Williams had “made the violin become both the bird’s song and its flight.” Indeed, the thrilling, trilling notes that open the piece conjure the idyll of rural England, counterbalanced with a pensive undertone that some have ascribed to the advent of World War I.

Beyond classical

“The Devil Went Down to Georgia” (Charlie Daniels Band): What epitomizes the fiddle better than this tune about a demonic fiddle face-off? The tune, originally written by Vassar Clements as “Lonesome Fiddle Blues,” was adapted with lyrics by the Daniels Band.

“Come on Eileen” (Dexys Midnight Runners): The radio version usually leaves off the lovely violin intro, a rendition of the Irish ditty “Believe Me, If All These Endearing Young Charms.” But the strings keep the Celtic flavor of this perennial karaoke favorite going. Earworm ahead!

“Sawin’ on the Strings” (Alison Krauss): Ably abetted with the fine picking of Union Station, Krauss shows off her fiddle chops (and crystalline voice) in this tribute to a fella called Fiddlin’ Will. There’s no better illustration of how the fiddle and bluegrass are a match made in heaven.

“Sugar Plum Fairy” (Black Violin): This hip-hop duo made up of string instrumentalists Kevin Sylvester (aka Kev Marcus) and Wilner Baptiste (Wil B) turns the classics on their head. Listen to how the added beats emphasize the rhythm of this favorite from Pyotr Tchaikovsky’s The Nutcracker.

Now you’ve heard the dual capabilities of the instrument, as violin and fiddle. It can tell any kind of musical story. And that’s why the violin is the best instrument ever!

From an early age, many of us have experienced playing the recorder in all of its majesty during music classes in school. While many enjoy the recorder for its sometimes comical sounds, it still is a serious instrument. Enjoy this list of knockout hits featuring the recorder. You might wonder, “Was the recorder my favorite instrument along?”

Classical legacy

Antonio Vivaldi: Recorder Concerto RV 443

Maurice Steger is the bad boy of the recorder world. With more than 35 solo albums, and guest appearances on many others, he takes the recorder to heights that many previously thought were not possible. His performance of Antonio Vivaldi’s Recorder Concerto displays his skill and precision.

A popular instrument of the Renaissance and Baroque periods, the recorder was first documented during the Middle Ages in Europe. It is a member of the woodwind family. Recorders are largely used in music education now, but famous composers such as Claudio Monteverdi, Jean-Baptiste Lully and Johann Sebastian Bach wrote for the instrument.

The recorder has a diverse list of noted performers besides Steger. Mid-20th-century virtuosos Hans-Martin Linde and Frans Brüggen helped revive the instrument’s popularity. Contemporary performers Erik Bosgraaf and Dorothee Oberlinger push the instrument into the modern soundscape while also upholding its historical roots.

Enjoy Oberlinger performing a work by J.S. Bach:

J.S. Bach: Sonata in E minor

Here are other examples of the recorder in classical music.

Giovanni Maria Trabaci: Gagliarda Seconda detta La Scabrosetta

Written for keyboard or four instruments, Trabaci’s “Gagliarda Seconda detta La Scabrosetta” is most often orchestrated for a recorder ensemble. Here it is performed by the Royal Wind Music with 13 musicians on Renaissance recorders.

G. Ph. Telemann: Recorder Concerto in C major

Telemann was a self-taught German Baroque composer. He wrote many concertos for the recorder and his Concerto in C major displays how the instrument blends flawlessly with a Baroque chamber orchestra.

Beyond classical

While the recorder is often considered as an “old” instrument, it has made its way into pop culture and modern compositions. Rock groups such as Jefferson Airplane, the Beatles and the Barenaked Ladies have used the recorder in their songs. Here other popular modern uses of the recorder that showcase the versatility of the instrument.

All the Madmen — David Bowie

From The Man Who Sold the World album, “All the Madmen” uses the recorder as a welcomed contrast to the standard rock instrumentation. After an acoustic guitar and vocal intro, a group of recorders enter with a cool countermelody in response to David Bowie’s lyrics. The recorder continues to pop up during the piece’s psychedelic interludes.

Your Move — Yes

Progressive rock band Yes, like many other bands during the same time, wrote tracks of multiple distinct movements. “Your Move” is the first movement to the longer song, “I’ve Seen All Good People.” In that first movement, duel recorders enter in harmony during the third verse at the 1:11 minute mark.

Stairway to Heaven — Led Zeppelin

The bass guitarist of Led Zeppelin, John Paul Jones, also played the recorder for tracks featured on the band’s untitled fourth studio album. “Stairway to Heaven” is considered the best track on that record, and the recorder opens the piece with the acoustic guitar in a lovely folkish melody.

The recorder is much more than just a tool to teach early music. It is a long-lived instrument that is impressively nimble and can produce a rich sound. If the recorder is good enough for Led Zeppelin and J.S Bach, its good enough for all of us.