Most people don’t believe me when I tell them how much variability there is among the possible sounds one can make with a triangle. But percussionists with even the slightest bit of orchestral training know this to be the case. They also know that the hardest thing on the instrument isn’t fancy tricks for playing specific numbers of grace notes with thoughtful emphases on micro-phrasing, it’s placement in ambiguous sections of music.
I liked this.