Shake the Earth: How to Play Bass Guitar
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Magpick: an Augmented Guitar Pick for Nuanced Control
Magpick: an Augmented Guitar Pick for Nuanced Control Fabio Morreale Andrea Guidi Andrew McPherson Creative Arts and Industries Centre For Digital Music Centre For Digital Music University of Auckland, Queen Mary University of Queen Mary University of New Zealand London, UK London, UK [email protected] [email protected] [email protected] ABSTRACT This paper introduces the Magpick, an augmented pick for electric guitar that uses electromagnetic induction to sense the motion of the pick with respect to the permanent mag- nets in the guitar pickup. The Magpick provides the gui- tarist with nuanced control of the sound that coexists with traditional plucking-hand technique. The paper presents three ways that the signal from the pick can modulate the guitar sound, followed by a case study of its use in which 11 guitarists tested the Magpick for five days and composed a piece with it. Reflecting on their comments and experi- Figure 1: The Magpick is composed of two parts: a ences, we outline the innovative features of this technology hollow body (black) and a cap (brass). from the point of view of performance practice. In partic- ular, compared to other augmentations, the high tempo- ral resolution, low latency, and large dynamic range of the The challenge is to find ways to sense the movement of Magpick support a highly nuanced control over the sound. the pick with respect to the guitar with high resolution, Our discussion highlights the utility of having the locus of high dynamic range, and low latency, then use the resulting augmentation coincide with the locus of interaction. -
A. Types of Chords in Tonal Music
1 Kristen Masada and Razvan Bunescu: A Segmental CRF Model for Chord Recognition in Symbolic Music A. Types of Chords in Tonal Music minished triads most frequently contain a diminished A chord is a group of notes that form a cohesive har- seventh interval (9 half steps), producing a fully di- monic unit to the listener when sounding simulta- minished seventh chord, or a minor seventh interval, neously (Aldwell et al., 2011). We design our sys- creating a half-diminished seventh chord. tem to handle the following types of chords: triads, augmented 6th chords, suspended chords, and power A.2 Augmented 6th Chords chords. An augmented 6th chord is a type of chromatic chord defined by an augmented sixth interval between the A.1 Triads lowest and highest notes of the chord (Aldwell et al., A triad is the prototypical instance of a chord. It is 2011). The three most common types of augmented based on a root note, which forms the lowest note of a 6th chords are Italian, German, and French sixth chord in standard position. A third and a fifth are then chords, as shown in Figure 8 in the key of A minor. built on top of this root to create a three-note chord. In- In a minor scale, Italian sixth chords can be seen as verted triads also exist, where the third or fifth instead iv chords with a sharpened root, in the first inversion. appears as the lowest note. The chord labels used in Thus, they can be created by stacking the sixth, first, our system do not distinguish among inversions of the and sharpened fourth scale degrees. -
Picking Mechanics for Blues Guitar
Picking Mechanics For Blues Guitar Antony Reynaert www.BestBluesGuitarLessonsOnline.com Contents Introduction I. Downstrokes Only . 5 A. When To Use B. Example C. Famous Players Using This Technique II. Alternate Picking . 6 A. When To Use B. Example C. Famous Players Using This Technique III. Economy Picking . .7 A. Why Use Economy Picking? B. Example C. Famous Players Using This Technique IV. Legato Technique . 8 A. When To Use B. Example C. Famous Players Using This Technique V. Sweep Picking . 9 A. When To Use B. Example C. Famous Players Using This Technique VI. Important Considerations . .. 10 copyright (c) Guitar Mastery Solutions Introduction: How To Free The Music Inside Of You By Overcoming Your Guitar Technique Limitations As a blues guitarist you want to express your feelings through your guitar. Before you can free the music in yourself, you need to clear the roadblock that is holding you back from expressing the music freely. Many guitar students struggle with their freedom of expression when playing blues solos, mainly because they believe that ‘blues is an easy style’ and because of this they never focus on blues guitar technique. This mistake causes the student to only get partial results when improvising and lays also at the root of why many struggle to play blues guitar solos effortless. How To Take Your Mind Of Guitar Technique Guitar technique should be practiced in order to take your mind of technique. Once you focused on the right exercises then you will find yourself in a place where you don’t have to actively think about technique anymore (even when playing the most challenging passages, licks, riffs or solos). -
An Overview of a Strumming Guitar Robot
StrumBot – An Overview of a Strumming Guitar Robot Richard Vindriis Dale Carnegie Victoria University of Wellington Victoria University of Wellington School of Engineering and Computer Science School of Engineering and Computer Science Wellington, New Zealand Wellington, New Zealand [email protected] [email protected] ABSTRACT • Incorporate features that allow for additional musical StrumBot is a novel standalone six stringed robotic guitar consisting expressivity. of mechanisms designed to enable musical expressivity and minimise acoustic noise. It is desirable for less than 60 dBA of noise at 1 m to be 2. BACKGROUND emitted to allow StrumBot to play in intimate venues such as cafés or Previous musical robots have a problem with the acoustic noise restaurants without loud motor noises detracting from the musical created from mechanical sources, such as a carriage rubbing against a experience. slide. This noise is not musical and interferes with the enjoyment of StrumBot improves upon previous robotic musical instruments by listening to the robots perform. While this does not matter in a concert allowing additional expressive opportunities for a composer to utilise. setting, it is not suitable for playing in a home or café type StrumBot can perform slides, vibrato, muting techniques, pitch bends, environment. A normal speaking volume (measured at 1 m) is pluck power variances, timbre control, complex chords and fast approximately 60 dB and it would be preferred if the robotic noise was strumming patterns. below this level. A MIDI input allows commercial or custom controllers to operate MechBass, BassBot and Swivel have all been designed for StrumBot. -
Roger Sadowsky Interview, Bass Guitar Magazine UK
ROGER THAT 028 BASS GUITAR MAGAZINE 028-030 Sadowsky_rev3JH.indd 28 13/07/2015 18:17 BASSISTS ROGER SADOWSKY Roger Sadowsky, one of the world’s leading bass luthiers, stopped by at the London Bass Guitar Show to talk to Mike Brooks about his bass building philosophy stroll around Olympia during the “I recommended a good fret job, shielding the London Bass Guitar Show can be electronics, a better bridge and a preamp – actually, a noisy experience to say the only the second bass preamp I had ever installed. I was least – yet on both days of this using a circuit by Stars Guitars from San Francisco, a year’s event back in March, group that had come out of the Alembic school. That’s A there was a tangible buzz: an what I gave Marcus – but within a year, they went out audible sound of hushed of business and Marcus’s preamp died! They told me mutterings between those in attendance. “It is him, when they were closing up that the closest thing to isn’t it?”... “Is that really him? Here in London?” what they were making was a Bartolini TCT preamp. Who could they have been talking about, you ask? I used that until 1990, when I wanted to create my Well, yes it was true – one of the premier luthiers outboard preamp box and Alex Aguilar [of Aguilar of the bass world was there at the London Bass fame] helped me to design my own circuit.” Guitar Show, and boy did Roger Sadowsky make a Back in those days, there was no internet or social splash. -
Year 11 Music Revision Guide
Year 11 Music Revision Guidance Name the musical instrument In the exam you will be asked to name different instruments that you can hear playing. If you do not play one of these instruments it can sometimes be quite difficult to pick out what each one sounds like. You will need to know what the different instruments of the orchestra sound like, what popular musical instruments sound like and what some world instruments sound like (sitar). It is worth you visiting www.dsokids.com or www.compositionlab.co.uk where you will be able to hear these instruments individually. Describing musical sounds For some questions in the exam you will need to describe what is happening in the music, in detail! If you are asked to comment on what is happening in the music you may need to describe what a particular instrument is doing, for example: ‘The left hand of the piano is playing ascending arpeggios’. The more detail you can provide, the better! Melodic movement You may be asked to describe what is happening in the melody of a song. Remember, this means the main tune. In popular music this is often the vocal line or in instrumental music it can be described as the instrument that has the main tune (the bit that you could whistle). It could move by STEP; this means it moves to the note next to it. It could move by LEAP; this means that the melody jumps from one note to another but misses some notes out in between. This could be a low note jumping to a high note or vice versa. -
Overview Guitar Models
14.04.2011 HOHNER - HISTORICAL GUITAR MODELS page 1 [54] Image Category Model Name Year from-to Description former retail price Musima Resonata classical; beginners guitar; mahogany back and sides Acoustic 129 (730) ca. 1988 140 DM (1990) with celluloid binding; 19 frets Acoustic A EAGLE 2004 Top Wood: Spruce - Finish : Natural - Guitar Hardware: Grover Tuners BR CLASSIC CITY Acoustic 1999 Fingerboard: Rosewood - Pickup Configuration: H-H (BATON ROUGE) electro-acoustic; solid spruce top; striped ebony back and sides; maple w/ abalone binding; mahogany neck; solid ebony fingerboard and Acoustic CE 800 E 2007 bridge; Gold Grover 3-in-line tuners; shadow P7 pickup, 3-band EQ; single cutaway; colour: natural electro-acoustic; solid spruce top; striped ebony back and sides; maple Acoustic CE 800 S 2007 w/ abalone binding; mahogany neck; solid ebony fingerboard and bridge; Gold Grover 3-in-line tuners; single cutaway; colour: natural dreadnought western guitar; Gruhn design; 20 nickel silver frets; rosewood veneer on headstock; mahogany back and sides; spruce top, Acoustic D 1 ca. 1991 950 DM (1992) scalloped bracings; mahogany neck with rosewood fingerboard; satin finish; Gotoh die-cast machine heads dreadnought western guitar; Gruhn design; rosewood back and sides; spruce top, scalloped bracings; mahogany neck with rosewood Acoustic D 2 ca. 1991 1100 DM (1992) fingerboard; 20 nickel silver frets; rosewood veneer on headstock; satin finish; Gotoh die-cast machine heads Top Wood: Sitka Spruce - Back: Rosewood - Sides: Rosewood - Guitar Acoustic -
How to Become a Fingerstyle Guitarist Guitar Giveaway Live Webcast September 29Th, 2018
How To Become a Fingerstyle Guitarist Guitar Giveaway Live Webcast September 29th, 2018 By: Erich Andreas YourGuitarSage.com Click Here to Watch the Free Beginner Series Click Here for $1 Access to UGS & 365 Course Introduction The guitar is a little orchestra.” – Segovia Finger style guitar is a style of guitar that is based on the plucking of strings with fingers instead of using a plectrum/pick. The lovers of this style of guitar will be quick to tell you of the joy and peace that they derive from their instrument while playing this style and talk often of the intimacy that they experience that is not possible with the guitar pick alone. Not only do the above merits ring true for those who take a moment to understand this remarkable style of guitar playing, but playing with the fingers allows the musician to play “controlled” polyphonic/multiple note music, which is not otherwise attainable with standard guitar pick styled playing. Have you ever attempted finger style guitar? When you did attempt it, did you feel like you had a claw instead of a hand? Did your mind and fingers get all tangled up in the strings? Do you know which fingers should pluck which strings? If you feel like I’m, “in your head” in regards to these questions, that’s because everyone feels this way at first when attempting this style, and most people ask the same exact questions. There was a time that I too felt this way, however, with time, helpful instruction and proper practice, finger style guitar became a large and very enjoyable part of my guitar playing. -
Figured-Bass.Pdf
Basic Theory Quick Reference: Figured Bass Figured bass was developed in the Baroque period as a practical short hand to help continuo players harmonise a bass line at sight. The basic principle is very easy: each number simply denotes an interval above the bass note The only complication is that not every note of every chord needed is given a figure. Instead a convention developed of writing the minimum number of figures needed to work out the harmony for each bass note. The continuo player presumes that the bass note is the root of the chord unless the figures indicate otherwise. The example below shows the figuring for common chords - figures that are usually omitted are shown in brackets: Accidentals Where needed, these are placed after the relevant number. Figures are treated exactly the same as notes on the stave. In the example below the F# does not need an accidental, because it is in the key signature. On the other hand, the C# does to be shown because it is not in the key signature. An accidental on its own always refers to the third above the bass note. 33 For analytical purposes we will combine Roman Numerals (i.e. I or V) with figured bass to show the inversion. Cadential 6/4 Second inversion chords are unstable and in the Western Classical Tradition they tend to resolve rather than stand as a proper chord on their own. In the example below, the 6/4 above the G could be described as a C chord in second inversion. In reality, though, it resolves onto the G chord that follows and can better be understood as a decoration (double appoggiatura) onto this chord. -
ICA 2010 Paper
Proceedings of the International Symposium on Music Acoustics (Associated Meeting of the International Congress on Acoustics) 25-31 August 2010, Sydney and Katoomba, Australia Experimental Approaches on Vibratory and Acoustic Characterization of Harp-Guitars Enrico Ravina (1) (1) University of Genoa, MUSICOS Centre of Research, Genoa, Italy PACS: 43.75.- z; 43.75.Gh ABSTRACT The paper describes the results of a research activity, still under development, oriented to the vibratory and acoustic characterization of harp-guitars. Vibration analyses show interesting differences between harp-guitars and classical guitars about displacements detected on the soundboard and on the bridge and their dependence to frequencies. Acoustic analyses detect very different responses of harp-guitars to various frequencies, showing also the different acoustic emission at sound holes. Comparisons between signals detected by external and surface internal micro- phones allow estimating effects of the acoustic damping in these particular instruments. INTRODUCTION later two designs are technically harp guitars with open strings. They were smaller in size as was fashionable at the Harp-guitars represent a separate and distinct category within time. Barry and Harley of London, excellent craftsmen, built the guitar family, are those most commonly and popularly these instruments for Light. Many of these table harp lutes, as referred to today as harp guitars. This particular category of they were called, are still around today. The desire for ex- instruments includes guitars with any number of additional tended range on a guitar was evident as composers, such as unstopped strings that can accommodate individual plucking. Fernando Sor (1778-1839) and Matteo Carcassi (1792-1853) The word "harp" is a specific reference to the unstopped open wrote music on a three necked, 21 strung guitar, called a strings, and is not specifically a reference to the tone, pitch hypolyre. -
Bass Guitar Owner's Manual Bass Guitar Configuration
Bass Guitar Owner's Manual Bass Guitar Configuration 4 5 6 3 11 7 8 9 10 3 12 1. Volume 7. Position Markers 2. Tone Controls 8. Fret 3. Strap Button 9. Fingerboard 4. Bridge 10. Nut 1 5. Bridge Pickup 11. Tuning Keys 2 6. Neck Pickup 12. String Retainer Control Configuration blend treble tone bass volume bridge volume treble tone neck volume neck volume bridge volume tone Congratulations So, you are the owner of a new Peavey Bass Guitar. Congratulations! Your purchase proves your taste in musical instruments is superb. Peavey offers a wide variety of bass guitars for beginners to professionals, each with unique qualities and features. While our professional luthiers have carefully inspected your guitar, every model requires some initial setup, and periodic maintenance is required for peak performance. To ensure proper care of your quality instrument, visit www.peavey.com/accessories for Peavey-recommended accessories, parts and cleaning supplies. Cleaning & Care When properly cared for, your Peavey bass will offer you years of pleasure. Playing your bass means that you will need to perform regular, general maintenance, such as cleaning and proper storage, to keep it looking and sounding great. Every time you play your bass, body oils and perspiration are transferred to the body, back of the neck, headstock, fingerboards, strings, tuners, pickups and bridge. After you finish performing, but before you put your bass away, take a moment to remove these contaminants. Cleaning - Wood To clean and care for the major wood parts of your bass guitar (body, headstock and the back of the neck), Peavey recommends that you use a clean, soft, lint-free, dry cotton cloth and the specially formulated guitar polish available at www.peavey.com/acces- sories. -
Figured-Bass Notation
MU 182: Theory II R. Vigil FIGURED-BASS NOTATION General In common-practice tonal music, chords are generally understood in two different ways. On the one hand, they can be seen as triadic structures emanating from a generative root . In this system, a root-position triad is understood as the "ideal" or "original" form, and other forms are understood as inversions , where the root has been placed above one of the other chord tones. This approach emphasizes the structural similarity of chords that share a common root (a first- inversion C major triad and a root-position C major triad are both C major triads). This type of thinking is represented analytically in the practice of applying Roman numerals to various chords within a given key - all chords with allegiance to the same Roman numeral are understood to be related, regardless of inversion and voicing, texture, etc. On the other hand, chords can be understood as vertical arrangements of tones above a given bass . This system is not based on a judgment as to the primacy of any particular chordal arrangement over another. Rather, it is simply a descriptive mechanism, for identifying what notes are present in addition to the bass. In this regime, chords are described in terms of the simplest possible arrangement of those notes as intervals above the bass. The intervals are represented as Arabic numerals (figures), and the resulting nomenclatural system is known as figured bass . Terminological Distinctions Between Roman Numeral Versus Figured Bass Approaches When dealing with Roman numerals, everything is understood in relation to the root; therefore, the components of a triad are the root, the third, and the fifth.