Voice & Rhythm Guide
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Sampletank 4 MAX - NEW Sounds - Master Instruments
SampleTank 4 MAX - NEW sounds - master instruments Acoustic Piano Size (MB) C7 Close Mics 12,000 C7 Coincident Mics 12,000 C7 Binaural Mics 12,000 Electric Piano Size (MB) Stage Electric Piano (Rhodes MKI) 717 Wurly Suitcase (Wurlitzer 200a) 451 Electric Bass Size (MB) Stick Bass 1 636 Stick Bass 2 61 Stick Melody 375 P-Bass 5-String 1,740 Finger Pick Slap 4001 Sunburst Bass 2,100 Finger Pick Bass Harmonics 100 Finger Pick Brass Size (MB) Euphonium 1,300 Crescendo (Slow, Fast) Doits (Slow, Fast) Espressivo Falls (Slow, Fast) Marcato Sforzando (Slow, Fast) Staccato Sustain 1 SampleTank 4 MAX - NEW sounds - master instruments Trombone 2,900 Crescendo (Slow, Fast) Doits (Slow, Fast) Espressivo Falls (Slow, Fast) Growl Marcato Rips Scoop Sforzando (Slow, Fast) Staccato Sustain Trumpet 2,800 Crescendo (Slow, Fast) Doits (Slow, Fast) Espressivo Falls (Slow, Fast) Growl Marcato Rips Scoop Sforzando (Slow, Fast) Staccato Sustain French Horn 1,500 Crescendo (Slow, Fast) Doits (Slow, Fast) Espressivo Falls (Slow, Fast) Marcato Sforzando (Slow, Fast) Staccato Sustain Flugel Horn 1,100 Crescendo (Slow, Fast) Doits (Slow, Fast) 2 SampleTank 4 MAX - NEW sounds - master instruments Espressivo Falls (Slow, Fast) Marcato Sforzando (Slow, Fast) Staccato Sustain Tuba 1,500 Crescendo (Slow, Fast) Doits (Slow, Fast) Espressivo Falls (Slow, Fast) Marcato Sforzando (Slow, Fast) Staccato Sustain Chromatic Size (MB) Clavinet 547 Clavinet BT-DA Clavinet S-DA Marimba 292 Vibraphone 625 Studio Xylophone 139 Brass Xylophone 127 Glockenspiel 118 Bells 200 Acoustic -
Brasilian Rhythms and Drumming Techniques
BRASILIAN RHYTHMS AND DRUMMING TECHNIQUES Dr. Jason Koontz Director of Percussion Studies Eastern Kentucky University GENERAL CHARACTERISTICS OF AFRO-BRASILIAN MUSIC *Call and response *Rhythmic complexity (syncopation & polyrhythm) *Structure based on melodic/rhythmic ostinato patterns *Use of timeline/clave *Music as means of communal participation SAMBA - AFRO-BRASILIAN URBAN POPULAR SONG/DANCE FORM Carnival samba (e.g. Samba Batucada and Samba Enredo (Rio,São Paulo), Axé (Bahia) §Characterized by heavy percussion, songs about themes presented in Carnival Pagode (Year-round) samba §Characterized by light percussion and plucked string accompaniment (guitar, cavaquinho) §Songs often satiric, witty, improvised Partido Alto Rhythm Variations A ™2 ≈ ¿™ ¿ ¿ ¿ ¿ ≈ ¿ ¿ ™ / 4 J 3 B ™ ¿ ¿ ≈ ¿ ¿ ≈ ¿™ ¿ ¿ ™ / J 5 C ™ ≈ ¿ ¿ ‰ ¿ ¿ ¿ ¿™ ¿ ™ / J 7 D ™ ≈ ¿ ¿ ‰ ¿ ¿ ¿ ≈ ¿ ¿ ™ / J 9 E *"palma da mão" rhythm ™ ¿™ ¿ ‰ ¿ ¿™ ¿ ‰ ¿ / J J PAGODE INSTRUMENTS: Surdo de Mão – Bass drum instrument played with the hand (a.k.a. Tan Tan, Rebolo) Tamborim (tom-boo-reem), a small single-headed frame drum Pandeiro, (pahn-dey-roo) a tambourine Reco-Reco (hecko-hecko) – scraped metal spring instrument (like a metal Guiro) Cuica (Kwee-Ka) friction drum Cavaquinho – Brasilian counterpart to the Portuguese Cavaquinho, and Ukulele (steel strings G-D-B-G) Pagode (pah-go-jee) rhythms A pattern 1 B pattern 2 > > > > > > > > ° ™2 œ œ œ ™ ™ œ œ œ œ œ œ œ œ ™ Cuíca / ™4 ≈ œ œ œ ≈ œ œ ™ ™ œ œ œ œ œ œ œ œ ™ ™2 ≈ ≈ ™ ™ ≈ ≈ ™ Tamborim / ™4 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ™ ™ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ™ *"Teleco-teco" rhythm (based on Partido Alto) >. >. >o >. >. >. >o >. ™ o o ™ ™ ™ 2 >¿ >¿ o >¿ ≈ o o ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ Pandeiro / ™4 ≈ œ œ œ œ œ ™ ™ œ œ œ œ œ œ œ œ ™ t f h f t f h f t f h f t f h f . -
Enjoy Playing Your Acoustic Guitar Accompanied by a Variety of Rhythms
Enjoy playing your acoustic guitar accompanied by a variety of rhythms Owner’s Manual Enjoy Sounds Like These 2 Advanced Use (Settings) 13 Panel Descriptions 4 Appendices 20 Installing Batteries 5 USING THE UNIT SAFELY 22 Playing Rhythms 6 IMPORTANT NOTES 22 Saving Favorite Settings (Favorite) 8 Advanced Use (Performing) 10 Before using this unit, carefully read “USING THE UNIT SAFELY” and “IMPORTANT NOTES” (the leaflet “USING THE UNIT SAFELY” and the Owner’s Manual (p. 22)). After reading, keep the document(s) where it will be available for immediate reference. © 2017 Roland Corporation Enjoy Sounds Like These Shaker, Maracas Bells Whistle Both contain tiny beads, and This instrument is shaken to This whistle (called an “apito” produce sound when shaken. produce sound. Since there are in Portuguese) is used in samba Frequently used in Latin music. many objects called bells that performance. By opening or Maracas are made using the are not used as instruments, closing the holes at the two fruit of the maraca tree, which these are also called “sleigh sides of the instrument while is a type of palm. Maracas is the bells.” blowing, you can change the plural form of “maraca.” pitch. Hand-claps, Bongo Paila Finger-snaps Conga This is a Cuban This is an ethnic ethnic instrument instrument with a head (skin) of Cuba that stretched over connects two This is the sound a barrel-shaped drums of different body. Originally, diameters. (performance technique) of its name differed The smaller drum striking the body depending on These are the is called the of the timbales. -
Guidelines for Percussion Writing
GUIDELINES FOR PERCUSSION WRITING 1. INSTRUMENTATION The following instruments are available: Timpani (four, ranges D – B, F – d, A – f, d – bb) Bongos (two) Tom-toms (two) Large Concert Bass Drum (36”) Congas (two) Small Bass Drum (28” – pedal can be attached) Rototoms (three) Surdo Side Drum (snares on or off) Tambourim Piccolo side drum (snares on or off) Darbouka Bodhran Tenor Drum (no snares) Cowbells (three) Clash Cymbals (three pairs: 18” or 20” French, Agogo bells (two ‘pitches’) 20” Viennese) Alpenglocken (eight of various sizes) Suspended Cymbals (three: 14”, 18”, 20”) Mark tree (bell tree) Cymbal attached to bass drum Sleigh bells (two sets) Hi-Hat Cymbal with pedal Handbell (untuned) Antique (finger) cymbals (two pairs, unpitched) Anvil Tam-tam (30”) Maracas (two pairs) Gong (20”) Egg shakers Guiros (two) Triangles (six, various sizes and timbres) Reco Reco Cabasa Orchestral Tambourines (two: 10”, 12”) Chekere Rock Tambourine (no head) Vibraslap Flexatone Xylophone Rainsticks (two, one large, one small) Glockenspiel Claves (two pairs) Vibraphone Castanets (Machine and handle) Metal Castanets Tubular bells (1½ octave chromatic set, C – g) Sandpaper blocks Wood blocks (three ‘pitches’) Thunderdrum Temple blocks (five ‘pitches’) Thunder sheet Jam blocks (two ‘pitches’) Big Bom Miscellaneous whistles (referee, train, lighthouse) Apito (samba whistle) Wind chimes (bamboo) Slide whistle (swanee whistle) Whip / Clapper Bulbhorns (two: large - car, small - bicycle) Slapstick Kazoo Ratchet / Rattle Bird calls (nightingale, pigeon, cuckoo, quail, duck) If you require any additional instruments, they would have to be hired – please check with an Orchestra representative first. The most common items that fall into this category are: Piccolo Timpani (20” or smaller) (Rock/Jazz) Drumkit Timbales Cajon Crotales (low or high octave) Log Drum Bass bells (below middle C) Mahler Hammer Hang/Gubal Aluphone Steel Drum Boobams Marimba Keyed Glockenspiel Tubophone Please note that you should not take this list as an invitation to use it all – moderation is a good thing! II. -
Thank You, and Congratulations on Your Choice of the SRX-09
SRX-09_je 1 ページ 2007年3月17日 土曜日 午後2時48分 201a Before using this unit, carefully read the sections entitled: “USING THE UNIT SAFELY” and “IMPORTANT NOTES” (p. 2; p. 4). These sections provide important information concerning the proper operation of the unit. Additionally, in order to feel assured that you have gained a good grasp of every feature provided by your new unit, Owner’s manual should be read in its entirety. The manual should be saved and kept on hand as a convenient reference. 201a この機器を正しくお使いいただくために、ご使用前に「安全上のご注意」(P.3)と「使用上のご注意」(P.4)をよく お読みください。また、この機器の優れた機能を十分ご理解いただくためにも、この取扱説明書をよくお読みくださ い。取扱説明書は必要なときにすぐに見ることができるよう、手元に置いてください。 Thank you, and congratulations on your choice of the SRX-09 このたびは、ウェーブ・エクスパンション・ボード SRX-09 “SR-JV80 Collection Vol.4 World Collection” Wave 「SR-JV80 Collection Vol.4 World Collection」をお買い上 Expansion Board. げいただき、まことにありがとうございます。 This expansion board contains all of the waveforms in the このエクスパンション・ボードは SR-JV80-05 World、14 World SR-JV80-05 World, SR-JV80-14 World Collection “Asia,” and Collection "Asia"、18 World Collection "LATIN" に搭載されていた SR-JV80-18 World Collection “LATIN,” along with specially ウェーブフォームを完全収録、17 Country Collection に搭載されて selected titles from waveforms contained in the 17 Country いたウェーブフォームから一部タイトルを厳選して収録しています。 Collection. This board contains new Patches and Rhythm これらのウェーブフォームを組み合わせた SRX 仕様の Sets which combine the waveforms in a manner that Effect、Matrix Control を生かした新規 パッチ、リズム・ highlights the benefits of SRX Effects and Matrix Control. セットを搭載しています。 This board contains all kinds of unique string, wind, and アフリカ、アジア、中近東、南米、北米、オーストラリア、 percussion instrument sounds, used in ethnic music from ヨーロッパ等、世界中のユニークで様々な弦楽器、管楽器、 Africa, Asia, the Middle East, South and North America, 打楽器などの各種民族楽器の音色を収録しています。 Australia, and Europe. -
Ro Musica Nipponia Nihon Ongaku Shudan 1988
RO MUSICA NIPPONIA NIHON ONGAKU SHUDAN 1988 日本音楽集団 ABOUT THE PRO MUSICA NIPPONIA Cities visited by the Pro Mttica Nlpponia (NIⅡ ON ONGAKU SIUDAN) 1972 EurO● (20 memb● rs) Chel,ti Brusselsi Colognei Berlin I Brno i Prague; The Nihon Ongaku Shudan knownin the West as Viennal Munich; Zagreb l BeOgrade: SombOri the Pro Musica Nipponia (formelly thc Ensemblc Provdiv:Sofia;Ca,ovo;Ruse;Craiova;Bucharest Nipponia), iS a grOup Of leading compOsers and top 1974 SOutheast Asia(18 nembers) rank musicians dcvoted lo the perormance of a wide Dlakarta l Denpasari saigOn i Manila ranging repertoire of clasical and modern contpOSi 1975 A‐ traⅢ a and New Zca]and(24 members) Vct The ottstanding tions iom bOth Japan and theヽ Perh: Adelaide, S,ancy i canberra i lrelbournei feattre of the ЯrOup is that music is perormcd Hobartiヽ Vellington i Auckland the traditional instruments of Japan The Pro 1976 Canada and U S A(6 7 members) ・ ″as Mtlsica Nipponia talSO Ca led [he Nippol,ia')ヽ Toronto; Ithaca l Richmond, Middlebury, New founded in 1964 with the expres intention of fOnnu York;Amher“ Washin,on:KnoxviJe Pit“ burgh lating a vital expretsiOn based upon ceJturies Old Ann Arboeri Chicagoi St Louis: ヽ4t Vernoni forms and instrumenヽ inTparably linkcd、 vitll tradi llllo:1lonolulu tional aesthetics and yet rsponsive to the spirit of ]978 Europe,Canada and U S A (26 members) the tim“ Old compositions have bcen re created Athena; I_ondon, Leipzigi Berlin i 14agdeburgi throu"vi■ d interpreta● On, ana new compOЫ ●ons Erurti Plauen i Dessau i Bucharesti Clu,, Satu incltlding -
RS-70 Sound List
Liiista de Soniiidos Liiista de Soniiidos oriiigiiinallles .......... 2 Liiista de Patches ......................... 5 Liiista de Kiiits de Riiitmo............... 11 Liiista de Patrones ..................... 17 Liiista de Plllantiiillllllas de Arpegiiio .... 17 Liiista de Estiiilllos de Arpegiiio ........ 19 Liiista de Kiiits de Mullltiii-acordes ... 19 ‘03-4-1N 40562856 Copyright © 2003 ROLAND CORPORATION Todos los derechos reservados. Ninguna parte de esta publicación puede ser reproducida de ningún modo sin el permiso escrito de ROLAND CORPORATION. Liiista de Soniiidos Oriiigiiinallles Nº. Nombre Voces Nº. Nombre Voces Nº. Nombre Voces Nº. Nombre Voces Nº. Nombre Voces 0001 Piano 1 2 0077 SA Vibe 1 0153 St.SteelGtr. 2 0229 Low Bass 2 0305 Brite Str 1 2 0002 Piano 1w 1 0078 Marimba 1 0154 RS Ac.Gtr 1 1 0230 SH Dullbass 2 0306 Brite Str 2 2 0003 European Pf 2 0079 Marimba w 1 0155 RS Ac.Gtr 2 1 0231 Deep Bass 3 0307 Velo Strings 4 0004 RS Grand 1 2 0080 Bass Marimba 1 0156 Nylon+Steel 2 0232 Dark Bass 2 0308 Oct Strings1 2 0005 RS Grand 2 2 0081 Xylophone 1 0157 12str Gtr 2 2 0233 No Rez 4 You 2 0309 Oct Strings2 2 0006 Piano F 2 0082 Tubular-bell 1 0158 12str Gtr 3 2 0234 Square Bass 2 0310 TronStrings1 1 0007 LA Piano 4 0083 Church Bell 1 0159 Jazz Gt. 1 1 0235 Jungle Bass 1 0311 TronStrings2 2 0008 Piano 2 2 0084 Carillon 1 0160 Pedal Steel 1 0236 Organ Bass 1 0312 Slow Strings 2 0009 Piano 2w 1 0085 Singing Bell 2 0161 Jazz Gt. -
281550-Sample.Pdf
Sample file Strings, Songs and Stories The Bard Colleges of Kozakura and Wa 1.00 Everything you need to perform in the traditional styles of Japan. By Ashley May & Isaac A. L. May DUNGEONS & DRAGONS, D&D, Wizards of the Coast, Forgotten Realms, Ravenloft, Eberron, the dragon ampersand, Ravnica and all other Wizards of the Coast product names, and their respective logos are trademarks of Wizards of the Coast in the USA and other countries. This work contains material that is copyright Wizards of the Coast and/or other authors. Such material is used with permission under the Community Content Agreement for Dungeon Masters Guild. This work was assembled using The GM Binder, a free tool provided by Iveld. All photos and artwork are in the public domain, sourced from Wikimedia Commons. All other original material in this work is copyright 2019 by Ashley May and Isaac A. L. May, and published under the Community Content Agreement for Dungeon Masters Guild. Sample file Introduction rom the land of Faerûn, a trade route known as The Golden Way leads to the far east. Most Faerûnian folk know only of the distand land of Kara-Tur by the silk, spices, and unique treasures that flow from the east. Rarely, a fighter known as a 'samurai' Fmay come their way, but most Faerûnians know little of what that means, beyond a particularly well-mannered warrior. What even fewer know is that beyond The Golden Way, beyond the land of Shou Lung, on the other side of the Celestial Sea, lay the unique and beautiful lands of Kozakura and Wa. -
Advisory Staff
Advisory Staff Profile Takaaki Kondo (Principal Timpanist of New Japan Philharmonic) Michiko Takahashi(Marimbist) Hans-Dieter Lembens(Ex-Percussionist of Berlin Philharrnonic) Tomoyuki Okada(Professor Emeritus at Senzoku Gakuen College of Music, Director of Percussion Ensemble Okada of Japan) Takaaki Kondo Michiko Takahashi Hans-Dieter Lembens Tomoyuki Okada Benedict Hoffnung Benedict Hoffnung(Percussionist of London Symphony Orchestra) Ryosuke Murayama(Lecturer at Seigakuin University, Technical Adviser) Koji Fukamachi(Associate Professor at Aichi Prefecturai University of Fine Arts and Music) Toshiaki lshiuchi(Ex- Prncipal Percussionist of Yomiuri Nippon Symphony Orchestra, Prdect Professor at Showa Academia Musicae) Masanori Izumi(Ex-Timpanist of Nagoya Philharrnonic Orchestra) Ryosuke Murayama Koji Fukamachi Toshiaki lshiuch Masanori Izumi Keiko Otsuka Keiko Otsuka(Ex- Percussionist of Vienna Radio Symphony Orchestra) Shoichi Kubo(Timpanist and Percussionist of NHK Syrnphony Orchestra) Hiroshi Sakagami(Ex- Percussionist of Osaka Philharmonic Orchestra, Chairperson of KansaI Percussion Association) Keita Shiraishi(Freelance Percussionist) Atsushi Sugahara(Ex- Principal Timpanist of Yomiuri Nippon Symphony Orchestra, Professor at Tokyo College of Music) Shoichi Kubo Hiroshi Sakagami Keita Shiraishi Atsushi Sugahara Thomas O'Kelly Thomas O'Kelly(Guest Principal Timpanist of Orchestra Ensemble Kanazawa) Hitoshi Hamada(Jazz Vibraphonist) Toshihiro Hori(Lecturer at Japan Marching Association, Street Performer) Kazunori Momose(Ex- Principal -
DRUMS S21 Medium Snare 2 Rim Shot S22 Concert Snare Soft Exc 1 Bass Drum (Kick) S23 Concert Snare Hard Exc 1 No
Information When you need repair service, call your nearest Roland Service Center or authorized Roland distributor in your country as shown below. SINGAPORE PANAMA ITALY ISRAEL AFRICA Swee Lee Company SUPRO MUNDIAL, S.A. Roland Italy S. p. A. Halilit P. Greenspoon & 150 Sims Drive, Boulevard Andrews, Albrook, Viale delle Industrie 8, Sons Ltd. EGYPT SINGAPORE 387381 Panama City, REP. DE PANAMA 20020 Arese, Milano, ITALY 8 Retzif Ha'aliya Hashnya St. Al Fanny Trading Office TEL: 846-3676 TEL: 315-0101 TEL: (02) 937-78300 Tel-Aviv-Yafo ISRAEL 9, EBN Hagar A1 Askalany Street, TEL: (03) 6823666 ARD E1 Golf, Heliopolis, CRISTOFORI MUSIC PTE PARAGUAY NORWAY Cairo 11341, EGYPT LTD Distribuidora De Roland Scandinavia Avd. JORDAN TEL: 20-2-417-1828 Blk 3014, Bedok Industrial Park E, Instrumentos Musicales Kontor Norge AMMAN Trading Agency #02-2148, SINGAPORE 489980 J.E. Olear y ESQ. Manduvira Lilleakerveien 2 Postboks 95 245 Prince Mohammad St., REUNION TEL: 243 9555 Asuncion PARAGUAY Lilleaker N-0216 Oslo Amman 1118, JORDAN Maison FO - YAM Marcel TEL: (021) 492-124 NORWAY TEL: (06) 464-1200 25 Rue Jules Hermann, TAIWAN TEL: 273 0074 Chaudron - BP79 97 491 ROLAND TAIWAN PERU KUWAIT Ste Clotilde Cedex, ENTERPRISE CO., LTD. VIDEO Broadcast S.A. POLAND Easa Husain Al-Yousifi REUNION ISLAND Room 5, 9fl. No. 112 Chung Shan Portinari 199 (ESQ. HALS), P. P. H. Brzostowicz Abdullah Salem Street, TEL: (0262) 218-429 N.Road Sec.2, Taipei, TAIWAN, San Borja, Lima 41, UL. Gibraltarska 4. Safat, KUWAIT R.O.C. REP. OF PERU PL-03664 Warszawa POLAND TEL: 243-6399 SOUTH AFRICA TEL: (02) 2561 3339 TEL: (01) 4758226 TEL: (022) 679 44 19 That Other Music Shop LEBANON (PTY) Ltd. -
PERCUSSION STUDIO HANDBOOK and CURRICULUM Kurt Gartner
PERCUSSION STUDIO HA NDBOOK AND CURRICULUM Kurt Gartner Neil Dunn School of Music, Theatre, and Dance 130 McCain Auditorium Kansas State University Manhattan KS 66506 785-532-3808 ksu.edu/music/percussion © 2019 Kurt Gartner All Rights Reserved CONTENTS Acknowledgements ................................................................................................................................................................ 4 Introduction ............................................................................................................................................................................... 4 Overview ..................................................................................................................................................................................... 5 Requirements for entrance into the percussion program ................................................................................. 5 Master’s degree ................................................................................................................................................................... 5 Plan of study ......................................................................................................................................................................... 5 Required Core Method Books ............................................................................................................................................. 6 Drum Set ................................................................................................................................................................................ -
Kodo One Earth" Tour '88
THE UNIVERSITY MUSICAL SOCIETY OF THE UNIVERSITY OF MICHIGAN Kodo One Earth" Tour '88 YOSHIAKI OI, Director Leonard Mitsutada Eto Chieko Kojima Eiichi Saito Yoshikazu Fujimoto Eiko Kubota Ryuji Sato Hiroyuki Hayashida Kazuhiro Masubuchi Shinichi Sogo Ryutaro Kaneko Tatsuro Matsuzaki Kazuaki Tomida Yasukazu Kano Motofumi Yamaguchi FRIDAY EVENING, JANUARY 15, 1988, AT 8:00 POWER CENTER FOR THE PERFORMING ARTS ANN ARBOR, MICHIGAN KODO VILLAGE A message from Kodo . We have now spent sixteen years on this, our island home of Sado in the Sea ofjapan. For eleven of those years we have traveled extensively in an effort to reach out and touch a chord of understand ing among people around the world, and equally within ourselves. Our next major step on this journey is to create a unique environment to which people from the four corners of the globe can be invited to our island, our home, attracted by a common desire to share in cultural and personal exchange at festivals, symposia, and regular workshops. We have acquired 25 acres of forested land on the southern peninsula of Sado, where we will build our new home, now in the final stages of planning. With Sado's rugged and endlessly varied landscape as a stage, we will continue our creation of original music and dance inspired by the traditional perform ing arts. The centerpiece for the village will be two superb, traditional farmhouses rescued from the wrecker's hammer and transported to the site. Also planned are a performance and workshop center, housing for Kodo's members tucked away in the woods, as well as facilities for research and documentation of the traditional performing arts.