Nick Yakunin Tech Lit Period 2 9‐27‐12 Do You

Total Page：16

File Type：pdf, Size：1020Kb

Nick Yakunin Tech Lit Period 2 9‐27‐12 Do You

Nick Yakunin Tech Lit Period 2 9‐27‐12 Drums Do you know what is the oldest musical instrument in all history? The drum is the oldest instrument. Without the drum, music wouldn’t be as catchy. Let me tell you some typical things about the drum and how it makes its sound. There are lots of different types of drums; like the Drum kit, Timpani, Triangle, Bass Drum, Snare drum, Didgeridoo, and many others. Each of those instruments makes its own sound and has its own shape. Lets start with the Bongo drum. The Bongo drum is a different type of drum because you have to hit it with your hands. That causes it to make kind of a patting drum sound. The size of the Bongo drum effects its sound too. If the Bongo is smaller, it sounds softer. When the Bongo drum is bigger, it makes a lower and louder sound. Another instrument that is kind of related to the Bongo drum is the Conga drum. The Conga drum is bigger. So that causes it to make a more louder and lower sound. The Bongo and the Conga are two simple drums you hit with your hands or your palms. The next drum I’ll tell you about is the Snare drum. It is the only instrument with a belt strap of little chains underneath its second drumhead. That causes it to make a loud, quick ruffle. People usually use it for great big orchestras or in bands at school. The reason why is because its a good drum to keep a fast paced song, but having the snare in most music doesn’t fit in. Its used when the conductor wants it to be used. There is another instrument that is partly related to the Snare drum. It is called the Bass drum. The Bass drum keeps the beat of most music, too. That’s why it is used in orchestras or school bands. But the Bass drum does not have a chain of rattles underneath its second drumhead. Because, the Bass drum lays on its side, when the drummer plays on the bass, it gets hit both sides. That’s why they don’t put it on a stand. It wouldn’t even sound that great. The Bass drum is one really low pitched drum. When you hit it, it makes a boom type sound, Literally a BOOM sound. There is one instrument that is both Snare and has a Bass drum. It is called a Drum Kit. Its pretty much a whole set of different drums in one. The Drum Kit uses mostly a Snare drum, Bass drum, Tom‐Tom drums, cymbals, hi‐hat and many others. Its just mostly used by Jazz, Blues, and Rock Band drummers. The Jazz and the Blues music came up with the drum kit sometime around 1904‐1905. The world of drums is really fun and exciting to learn about for me, I hope you have fun too. .

Copy Link

Recommended publications

The KNIGHT REVISION of HORNBOSTEL-SACHS: a New Look at Musical Instrument Classification
The KNIGHT REVISION of HORNBOSTEL-SACHS: a new look at musical instrument classification by Roderic C. Knight, Professor of Ethnomusicology Oberlin College Conservatory of Music, © 2015, Rev. 2017 Introduction The year 2015 marks the beginning of the second century for Hornbostel-Sachs, the venerable classification system for musical instruments, created by Erich M. von Hornbostel and Curt Sachs as Systematik der Musikinstrumente in 1914. In addition to pursuing their own interest in the subject, the authors were answering a need for museum scientists and musicologists to accurately identify musical instruments that were being brought to museums from around the globe. As a guiding principle for their classification, they focused on the mechanism by which an instrument sets the air in motion. The idea was not new. The Indian sage Bharata, working nearly 2000 years earlier, in compiling the knowledge of his era on dance, drama and music in the treatise Natyashastra, (ca. 200 C.E.) grouped musical instruments into four great classes, or vadya, based on this very idea: sushira, instruments you blow into; tata, instruments with strings to set the air in motion; avanaddha, instruments with membranes (i.e. drums), and ghana, instruments, usually of metal, that you strike. (This itemization and Bharata’s further discussion of the instruments is in Chapter 28 of the Natyashastra, first translated into English in 1961 by Manomohan Ghosh (Calcutta: The Asiatic Society, v.2). The immediate predecessor of the Systematik was a catalog for a newly-acquired collection at the Royal Conservatory of Music in Brussels. The collection included a large number of instruments from India, and the curator, Victor-Charles Mahillon, familiar with the Indian four-part system, decided to apply it in preparing his catalog, published in 1880 (this is best documented by Nazir Jairazbhoy in Selected Reports in Ethnomusicology – see 1990 in the timeline below).
[Show full text]
Brian Baldauff Treatise 11.9
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2017 The Percussion Music of Michael W. Udow: Composer Portrait and Performance Analysis of Selected Works Brian C. (Brian Christopher) Baldauff Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC THE PERCUSSION MUSIC OF MICHAEL W. UDOW: COMPOSER PORTRAIT AND PERFORMANCE ANALYSIS OF SELECTED WORKS By BRIAN C. BALDAUFF A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music 2017 Brian C. Baldauff defended this treatise on November 2, 2017. The members of the supervisory committee were: John W. Parks IV Professor Directing Treatise Frank Gunderson University Representative Christopher Moore Committee Member Patrick Dunnigan Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii To Shirley. iii ACKNOWLEDGMENTS This document and degree would not have been possible without the support, guidance, and patience of numerous extraordinary individuals. My wife, Caitlin for her unwavering encouragement. Dr. John W. Parks IV, my major professor, Dr. Patrick Dunnigan, Dr. Christopher Moore, and Dr. Frank Gunderson for serving on my committee. All my friends and colleagues from The Florida State University, the University of Central Florida, the University of Michigan, West Liberty University, and the University of Wisconsin- Stevens Point for their advice and friendship. My parents Sharon and Joe, and all my family members for their love.
[Show full text]
Glossary of Cuban Musical Terms
Glossary of Cuban Musical Terms Bongo: A small double drum which is held between the knees, resting on the claves of the seated musician. Clave: An off beat 3-2 or 2-3 rythmic pattern played over two measures. It is the basis for all Cuban music. Claves: Two strikers of resonant wood used to perform the clave pattern. Conga: A major instrument in the salsa rhythm section. There are three drums in the conga family- quinto (small) conga (mid-sized), and tumbadora (large). There are a great many sounds achievable which make the congas a very versitile instrument. Mambo: An Afro-Cuban form of music which has it’s roots in the Congolese religious cults. Arguments still exist over who exactly brought it to the dance halls but it was the big bands of the 1940s that which brought it’s contrasting brass and sax riffs to salsa popularity. Mambo Section: A section of contrasting riffs for salsa frontline instruments. Said to be derived from the guaracha it got it’s name when it became part of the Mambo. Montuno Section: A vehicle for improvisation in Cuban and salsa numbers. Usually a two or three chord pattern, it is ad- libbed under instrumental or vocal improvisations. It is very often where the piano player will play a repeated rhythmic pattern. Shekere: An African-derived rattle made from a gourd and covered with beads in a net-like pattern. Son-Montuno: A 2-3 clave form, usually mid-paced or slow with an intense, relentless quality highly suitable to the salsa format.
[Show full text]
Medium of Performance Thesaurus for Music
A clarinet (soprano) albogue tubes in a frame. USE clarinet BT double reed instrument UF kechruk a-jaeng alghōzā BT xylophone USE ajaeng USE algōjā anklung (rattle) accordeon alg̲hozah USE angklung (rattle) USE accordion USE algōjā antara accordion algōjā USE panpipes UF accordeon A pair of end-blown flutes played simultaneously, anzad garmon widespread in the Indian subcontinent. USE imzad piano accordion UF alghōzā anzhad BT free reed instrument alg̲hozah USE imzad NT button-key accordion algōzā Appalachian dulcimer lõõtspill bīnõn UF American dulcimer accordion band do nally Appalachian mountain dulcimer An ensemble consisting of two or more accordions, jorhi dulcimer, American with or without percussion and other instruments. jorī dulcimer, Appalachian UF accordion orchestra ngoze dulcimer, Kentucky BT instrumental ensemble pāvā dulcimer, lap accordion orchestra pāwā dulcimer, mountain USE accordion band satāra dulcimer, plucked acoustic bass guitar BT duct flute Kentucky dulcimer UF bass guitar, acoustic algōzā mountain dulcimer folk bass guitar USE algōjā lap dulcimer BT guitar Almglocke plucked dulcimer acoustic guitar USE cowbell BT plucked string instrument USE guitar alpenhorn zither acoustic guitar, electric USE alphorn Appalachian mountain dulcimer USE electric guitar alphorn USE Appalachian dulcimer actor UF alpenhorn arame, viola da An actor in a non-singing role who is explicitly alpine horn USE viola d'arame required for the performance of a musical BT natural horn composition that is not in a traditionally dramatic arará form. alpine horn A drum constructed by the Arará people of Cuba. BT performer USE alphorn BT drum adufo alto (singer) arched-top guitar USE tambourine USE alto voice USE guitar aenas alto clarinet archicembalo An alto member of the clarinet family that is USE arcicembalo USE launeddas associated with Western art music and is normally aeolian harp pitched in E♭.
[Show full text]
PELUANG EKSPOR INSTRUMEN MUSIK PERKUSI DI PASAR KANADA (Market Brief – ITPC Vancouver 2013)
PELUANG EKSPOR INSTRUMEN MUSIK PERKUSI DI PASAR KANADA (Market Brief – ITPC Vancouver 2013) INDONESIAN TRADE PROMOTION CENTER VANCOUVER 1300-1500 WEST GEORGIA ST. VANCOUVER, BC V6G 2Z6 CANADA KATA PENGANTAR Dengan mengucapkan syukur pada Tuhan Yang Maha Kuasa, ITPC Vancouver telah menyelesaikan Market Brief edisi Mei 2013 ini yang berjudul “Peluang Ekspor HS# 920600 – Instrumen Musik Perkusi (Percussion Musical Instruments) Di Pasar Kanada ”. Market Brief ini merupakan pembahasan singkat tentang potensi dan kondisi pasar produk Instrumen Musik Perkusi (Percussion Musical Instruments), di Kanada. Penulisan Market Brief ini mengacu pada “ Outline Market Intelligence & Market Brief ”, Departemen Perdagangan, tanggal 8 Maret 2011 di Hotel Borobudur, Jakarta. Pembuatan Market Brief merupakan bagian dari tugas ITPC di luar negeri yang merupakan informasi terkini tentang suatu produk di suatu negara, mencakup peraturan negara terakreditasi, potensi dan strategi penetrasi pasar, peluang dan hambatan, serta informasi penting yang diperlukan lainnya. Dengan demikian Market Brief ini diharapkan dapat membantu upaya meningkatkan pemasaran produk Instrumen Musik Perkusi (Percussion Musical Instruments) Indonesia dalam persaingan pasar Musical Instrument di Kanada. Semoga Market Brief ini bermanfaat bukan hanya bagi pengusaha Instrumen Musik Perkusi (Percussion Musical Instruments) nasional tapi juga pihak Pemerintah yang dalam hal ini selaku pembuat kebijakan. Terima kasih kami ucapkan atas perhatian, saran serta masukan untuk penyempurnaan Market Brief ini. Vancouver, Mei 2013 Indonesia Trade Promotion Center Wakil Kepala, Tengku Bayu Nasrul Sjah Market brief ITPC Vancouver - 2013 | - HS# 920600 : Instrumen Musik Perkusi (Percussion Musical Instruments) i D A F T A R I S I KATA PENGANTAR ……………………………………………… i DAFTAR ISI ……………………………….…………………………….. ii PETA NEGARA ……………………………………………..……….. iii BAB I. PENDAHULUAN …………………………………………………. 1 – 10 1.1.
[Show full text]
Marimbas in South African Schools: Gateway Instruments for the Indigenous African Music Curriculum
Marimbas in South African schools: gateway instruments for the Indigenous African Music curriculum by Gilmour Adamino Gordon Thesis presented in fulfilment of the requirements for the degree of Master of Music in the Department of Music, Faculty of Arts and Social Sciences at Stellenbosch University Supervisor: Professor Caroline van Niekerk Co-supervisor: Dr Carina Venter December 2020 Stellenbosch University https://scholar.sun.ac.za Declaration By submitting this thesis electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the sole author thereof (save to the extent explicitly otherwise stated), that reproduction and publication thereof by Stellenbosch University will not infringe any third-party rights and that I have not previously in its entirety or in part submitted it for obtaining any qualification. Copyright © 2020 Stellenbosch University All rights reserved ii Stellenbosch University https://scholar.sun.ac.za Abstract The African marimba, even though not indigenous to South Africa, is widely used in schools and entertainment arenas around the country. Albeit to a limited extent, Africa’s people have a shared knowledge of each other’s cultures, allowing multiculturalism in everyday life, especially in schooling and education. This thesis motivates the marimba as an excellent gateway instrument for the indigenous African music (IAM) component in the South African schools’ curriculum, hopefully paving the way for other African instruments. Diatonic marimbas, modelled on traditional marimbas and enhanced for modern technical purposes, have melodic, harmonic and percussive abilities which could be suitable for the largely Western art music orientation of South African schools.
[Show full text]
Belgium Raps Red Demand Aides from Congo
wi*i‘ wt ijfc-jQji^yas f r . si ' [ -BIGHT WEDNESDAY, DECEMBER 7, 1*€0 / iUrntrir^iiti^^^tt^nins Average Dally Net Preee Rob The Weathw* *-5'|;%,"V\5'*'^‘''*'-' ■ ■'■ For the >!aiMI Feneeat ef .D. sT WaWNwr : Doe. s, uee OeMndy fair, eoUer tiiMitf; I 13,312 m d FrMay, enow flentei Member e l ttw AnaiS ever hUiy tMwttona. Law MMiM Dnrma ef Otrenlattoa Bear IB. Hlgji FrMay aear a#.r. ■* ' i M anchester^ A CUy of Villitge Charm YOUR STORE VOL. LXXX, NO. 68 (TWENTY-POUR PAGBft-IN TWO BECTIONS) MANCHESTER, CONN., THURSDAY, DECEMBER 8, 1960 (OtoaeUled JUIvaMeiag on Faga at) PRICE IHYS CBNTS OF VILEACE State News CHARM Military Rules J Roundup Belgium Raps Red Demand $200,000 Fire In Jewett City Savannakhet, Laos, Dec. 8ItPaOiet Lao forcos ringing tho capital were poiaod for attack. Jewett' City, Dec. 8 (A>)—-A (/P>—Right-wing rebel Imder Right-wing rebal 0«n. Phoumi Aides from Congo Gen. Phoumi Nosavan de 'ast spreading fire destroyed NoMvan, who ataged a bra<^k- the Jewett City Furniture Co. O clared today forces loyal to through on the Namkadinh River him staged the uprising in the front 100 mllea eaat of Vientiane early this morning. Wednesday, was reported advanc Fire officials said the malfunc STAMPS Laotian capital, Vientiane. He tion of an Oil burner might have ing on tha capital too. He had aaid the revolt against Pre regrouped his forces, recrossed the started the blaze. Their estiniate C ongolese THURSDAY ONLY! with all cash sales! THURSDAY ONLY! mier Souvanna Phouma’s re river, recaptured Pakadinh on the of the financial loss was $200,000, Blasts UN gime began in pre-dawn dark including the firm’s stock.
[Show full text]
AFRO-CUBAN RHYTHMS for DRUMSET by Frank Malabe and Bob Weiner, Published by Manhattan Music, Inc
Latin Rhythms: MYSTERY UNRAVELED Victor López, Clinician Sponsored by Alfred Publishing Company Guest Clinicians: Michele Fernandez Denlinger Anthony M. Falcone 2005 Midwest Clinic 59th Annual Conference Hilton Chicago - Chicago, Illinois December 16, 2005 Special thanks to: The rhythm section of the New Trier High School Jazz Ensemble (Winnetka, Illinois) and Jim Warrick, Coordinator of Jazz Studies Glossary of Latin Music Terms BOLERO (boh-LEH-roh) Is a Latin ballad and it is not to be confused with the Maurice Ravel composition of the same name. It is in the pretty slow tempo range but can sometimes have open vamps for improvisation that pick up in energy quite a bit, Such as in a Bolero-Son. BONGO (bohn-GOH) A small double drum (held between the knees, resting on the claves of the seated musician). CENCERRO - (sen-SEH-roh) A large hand-held cowbell played with a stick. It produces two notes, depending upon where it is struck. In Cuban music and SALSA, it is usually played by the bongo artist when the band goes into the “ride” or MAMBO section after the main vocal. In good hands, it can drive an entire band with ever-increasing excitement and power. CHACHACHA (cha-cha-CHA) Some claim that this is the second section of the DANZON; others argue that it is a slower MAMBO. It was sometimes called a double MAMBO in New York since its basic dance step was the MAMBO with a double step in the fourth-to-first beats…chachaCHA! The CHACHACHA developed around 1953 in the hands of Cuban CHARANGAS.
[Show full text]
GETTING STARTED in PERCUSSION by Cynthia Coy
GETTING STARTED IN PERCUSSION by Cynthia Coy How to Become a Skilled Percussionist My Experience As a Beginner Percussionist When you first get started with your musical career, you’ll never know where it might take you! I spent my entire career as a percussionist, but when I first signed up for band, my plan was to play the trumpet. My braces wound up being an issue, so when I was offered a choice between the trombone, alto saxophone, and percussion in sixth grade, I decided to pursue the latter and haven’t looked back since! At first, I wasn’t thrilled with the idea of being a percussionist. At that time gender roles were still a big influence on which instrument you wound up playing, but it didn’t take long before I found my inspiration in Karen Carpenter (of The Carpenters). A critically acclaimed drummer, she proved that you could be both a girl and a skilled percussionist! Our high school went through three different band directors in four years, each one offering their own specialty. It wasn’t until my first high school band director (a trumpet player) was replaced by a percussionist that I realized how important it was to have a specialist providing one-on-one feedback regarding technique and play style. It wasn’t long before I discovered I had been gripping my left snare Learn more at WhiteHouseofMusic.com or visit one of our six locations. Waukesha: 2101 N. Springdale Rd., (262) 798-9700 | Watertown: 1724 S. Church St., (920) 261-0700 | West Bend: 869A S.
[Show full text]
Latin Percussion
LATIN PERCUSSION Teacher: Pakito Baeza In this workshop where each session is different from the one before, listeners are invited to let their imagination fly by analysing tunes in a different way. Programme • Learning about the Conga and African-Cuban Tumbadora. Introduction: striking the Conga & hand position Technique: the basics, sounds and control Beats: Son cubano, Guaguancó, Mambo, Conga, Pilón, Mozambique, Plena, Bomba, Son Montuno, etc. • Bongo drum analysis Technique: striking and holding a bongo drum "Hammer" 4/4 time pattern Improvisation Rhythm: Salsa music pattern • Timpani analysis Technique: hand position and drumsticks Shells and combinations. Mental division, aka polyrhythm with cattle bells and bells. Beats: So, Cha Cha Cha, Mambo • Cajón box drum. Technique and sounds: deep and sharp tapping Peruvian rhythms (Huayno, Landó, etc.). Flamenco: Bulerias, alegrías, rumba, tangos Other styles: funky, jazz, fusion • Minor percussion instruments 4/4 key pattern Bongo player Son Bell Maraca: son, sounds and division Caxixi: technique Go-Go: technique and patterns Objectives The aim of this workshop is to introduce students to the world of Latin and African-Cuban percussion, so that they can further study Latin music after completing it. We will study rhythmic patterns that are typical of the instruments used in Latin percussion (namely conga, bongo drum, timpani, maraca, cajón box drum, and some others), and in African-Cuban percussive folklore (son, mambo, songo, guaguanco, plena, etc.). This workshop will provide students with the basic knowledge they need to undertake a more advanced course to start training as professional musicians/percussionists. 1 Addressed to Anybody (from the UA community or from outside it) who is interested in Latin percussion.
[Show full text]
Catalogue 2020/2021
Creating an Extraordinary Musical Experience! Catalogue 2020/2021 Showroom: 7030 Ang Mo Kio Ave 5, #06-40 Northstar@AMK, Singapore 569880 Viewing: Kindly call for an appointment Contact: 9680-6604 (Goh Lee Lee); 9671-4503 (Tay Soo Leng) Email: [email protected] E-catalogue: www.allegrobrio.com E-shopping: Visit us at GEBIZ MALL Product specifications & availability subject to change without notice TUNED INSTRUMENTS Boomwhackers (Allegro-Brio is the Exclusive Agent for Boomwhackers in Singapore, Malaysia & Indonesia) BW107T 7-Note Treble BW113 BW106P 6-Note BW108 Add-on Set Pentatonic Set 8-Note Set 13-Note Set (Chromatic; (C, D, E, G, A, c) (Diatonic; C-c) (Chromatic; C-c) High C#-High G) Whacker Sling Bag BG201 8-note bag BG202 13-note bag BG501 Move & BG203 7-note Bass bag Play Tote Bag BG204 12-note Bass bag (stores up to 28 BG205 7-note Treble bag Boomwhackers) BW107B BW112B BWFD 7-Note Bass 12-Note Bass Wooden Floor BWC8 Octavator Add-on Set Add-on Set Display Tube Caps (Set of 8) (Diatonic; (Chromatic; (stores up to 13 Lowers pitch by Low C-Low B) Low C-Low B) Boomwhackers) 1 octave! Kalimba Optional Add-On Suitable for both kids and adults! Fun and easy to learn! KAL101DR 10-Note Kalimba KAL201DR 17-Note Kalimba KAL-CASE - C Key (Diatonic; c1-e2) - C Key (Diatonic; c1-e3) Kalimba Protective Hardcase - Birchwood; Deep Red - Birchwood; Deep Red - Inclusive of Cleaning Cloth and Pouch - Inclusive of Notation Sticker, Cleaning Cloth, Pouch and Tuner) Roll-Up Instruments RFP101 Roll-Up Piano Kit RFD101 Roll-Up Drum Kit - 61 Keys:
[Show full text]
Smithsonian Folklife Festival Records: 1990 Festival of American Folklife
Smithsonian Folklife Festival records: 1990 Festival of American Folklife CFCH Staff 2017 Ralph Rinzler Folklife Archives and Collections Smithsonian Center for Folklife and Cultural Heritage 600 Maryland Ave SW Washington, D.C. [email protected] https://www.folklife.si.edu/archive/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Historical note.................................................................................................................. 2 Scope and Contents note................................................................................................ 2 Arrangement note............................................................................................................ 2 Introduction....................................................................................................................... 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Program Books, Festival Publications, and Ephemera, 1990................... 5 Series 2: Musics of Struggle.................................................................................... 6 Series 3: Senegal..................................................................................................
[Show full text]