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Hey There Ladies! Time to Move on from Composers to Instruments
Hey there ladies! Time to move on from composers to instruments… after all… someone had to play the music that those guys wrote! So first you will be introduced to the four families and their instruments, then the orchestra and its layout. There are some worksheets you must complete to help you familiarise yourself with this work. No need to submit. We will mark once back at school. There are also plenty of awesome videos on YouTube where they show you how these instruments are made. So if you can (not compulsory!) go check it out! Type in: How ……. (instrument) is made Missing you lots! Stay healthy and safe! Mrs. fin Instrument families All instruments are divided into four different categories, based on: String Brass Instruments Instruments Woodwind Percussion Instruments Instruments Find the Instrument instruments Wordsearch listed below the wordsearch Flute Harmonica Recorder Oboe Trombone Guitar Viola Cornet Saxophone Bazooka Accordian Trumpet Panpipe Clarinet Bagpipe Zither Piccalo Ocarina Fiddle Snare The smaller the instrument, the Brass higher it plays. Instruments The bigger the instrument the lower it plays. A brass instrument is a musical instrument that you play by vibrating your lips into a mouthpiece (that is placed against your mouth) to pro- duce high or low notes (this is called buzzing). No sound will come out if you just blow air through it! Interestingly, it does not matter whether the instrument are made of brass, as long as it works the way explained above. Brass instruments can be gold, rose gold or silver in colour. Trombone List any other instruments considered to be Brass Instruments French Horn Trumpet Tuba Single reed: Clarinet, Woodwind Saxophone Instruments Double reed: Oboe, Bassoon Woodwinds are a type of musical instrument that produces sound when a musician blows air into or across the mouthpiece. -
Note About the Drumsets Almost All Drum Sets Use Layer 1 for the Bass Drums, Layer 2 for the Snares, Layer 3 for the Rest, Layer 4 for Only the Hi-Hats
Intro The Techno Synth Construction Yard 32 MB ROM is a stunning collection of great new sounds designed for the dance, ambient and techno producer or artist. European sound designer Rob Papen has assembled over 600 of his best samples and coupled them with the Proteus 2000’s ultra-powerful synth engine to create a sound set like you’ve never heard before! Proteus’ 12 knob controllers let you tweak sounds to your heart’s content. Presets can morph into completely new sounds and textures at the touch of your fingers. Explore the presets by pressing the Audition button! The Techno Synth Construction Yard includes 136 spankin’ new RIFFs which you can use as backing tracks in your music. Note about the Drumsets Almost all drum sets use Layer 1 for the Bass Drums, Layer 2 for the Snares, Layer 3 for the rest, Layer 4 for only the hi-hats. This means also that the open hi-hat and closed hi-hat work together like real drums! This layering is also useful when using separate outputs or adding FX In the basic setting of the presets the knob control- lers for FX-A and B work only on Layer 2 (snares) and Layer 3 (rest of percussion and drums). Layer 1 and Layer 4 will stay dry for the FX-A knob (K). The non-GM sets have extra Bass and Snare Drums in each kit. Also Note: Many presets have a drum kit located at C-2 to A#1. 2 E-MU Systems TEKNO-Snyth 2 10/28/99, 4:36 PM Note about the MIDI G and MIDI H Controllers Almost all presets use clocked LFOs (MIDI G and MIDI H) to make the sound sync with your song. -
Chorusing and Flanging Effects on The
. The Independent News Magazine for Ensoniq Users Inthis issue Chorusing and Flanging Effects on the SQs - The Plot Thickens Articles: Clark Salisbury Chorusing and Flanging on the SQs Clark Salisbury cover give the impression that the original signal is echoing. This simple approach yields the DP/4 Specifications original signal and a single echo. If one Ensoniq " 9 wishes to create the sound of multiple (More) "Hidden Waves" on the VFX echoes, one need only route the delayed sig- Walter Cooper ". 14 nal back into the delay itself. This delayed signal is then again delayed, yielding a Sample Variations second echo, and since the output of the William PonJ ".. 15 delay is routed back to its own input, this Pickin' on EPS Bass Sounds second echo is again delayed, and so on. TomShear " 17 The process of routing a delayed signal Welcome to this month's installment of back into the delay is referred to as Reviews: "Programming The SQ When You Should "regeneration" or "feedback." Le Cover Dust Covers Be Looking For A Real Job." So far we've Steve VincenJ 4 talked about how to route voices to the ef- If this regenerated signal is routed back into fects busses and how to work with the the delay at full intensity, however, the Basement Tapes: G2 Daniel Mandel 6 reverb parameters to customize reverb ef- echoes will continue to multiply at full fects. This time out, let's move on to some volume until the sound finally becomes a I Jazz Through MIDI of the other on-board effects. -
Hand Claps, Orchestra Hits, and the Production of Popular Music
Cult Sound Studies: Hand Claps, Orchestra Hits, and the Production of Popular Music Paul Harkins is a lecturer in music at Edinburgh Napier University. His research is about the history and use of digital technologies in popular music and his book, Digital Sampling, is due to be published by Routledge. Other research interests include copyright, mash-ups, and the music industries. His academic writing has been published in Popular Music, Popular Music & Society, IASPM@Journal, Journal on the Art of Record Production, and Reseaux. [email protected] Brockhaus, Immanuel. Cult Sounds. http://www.cult-sounds.com Writing about popular music has often caused problems for scholars attempting to make sense of its sounds. Sociologists have been accused of failing to take them seriously by focusing on the contexts of production, distribution, and consumption and ignoring the ‘text’. Treating music as a text, though, has created its own issues as musicologists use the tools of musical analysis to look at lyrics and notes, things that are easy to write down or notate. Since the turn of the century, there have been a number of developments that have impacted on how scholars approach the sounds of popular music: the Art of Record Production (ARP) conference, which started in 2005, brought together those researching music within the academy, sound engineers starting PhDs, and record producers with books to promote. Moreover, the growth of Sound Studies as an interdisciplinary field has led to an increased focus on the production of sound itself, often outwith the contexts of music making and popular music. -
Hey Ladies! Time to Move on from Composers to Instruments… After All
Hey ladies! Time to move on from composers to instruments… after all… someone had to play the music that those guys wrote! So first you will be introduced to the four families and their instruments, then the orchestra and its layout. There are some worksheets you must complete to help you familiarise yourself with this work. We will mark it at our lesson in 2 weeks time. There are also plenty of awesome videos on YouTube where they show you how these instruments are made. So if you want to, (not compulsory!) go check it out! Type in: How ……. (instrument) is made I have also included African and Indian Music as well as Western Form (Sonata Form, Concerto and Symphony) Stay healthy and safe! Mrs. fin Instrument families All instruments are divided into four different categories, based on: String Brass Instruments Instruments Woodwind Percussion Instruments Instruments Find the Instrument instruments Wordsearch listed below the wordsearch Flute Harmonica Recorder Oboe Trombone Guitar Viola Cornet Saxophone Bazooka Accordian Trumpet Panpipe Clarinet Bagpipe Zither Piccalo Ocarina Fiddle Snare The smaller the instrument, the Brass higher it plays. Instruments The bigger the instrument the lower it plays. A brass instrument is a musical instrument that you play by vibrating your lips into a mouthpiece (that is placed against your mouth) to pro- duce high or low notes (this is called buzzing). No sound will come out if you just blow air through it! Interestingly, it does not matter whether the instrument are made of brass, as long as it works the way explained above. -
KROSS Voice Name List
Voice Name List 1 Table of Contents Programs . .3 27(INT): Percussion Kit. 49 Category: PIANO . .3 28(INT): Orchestra&Ethno Kit . 50 Category: E.PIANO . .4 29(INT): BD&SD Catalog 1. 52 Category: ORGAN . .5 30(INT): BD&SD Catalog 2. 53 Category: BELL. .6 31(INT): Cymbal Catalog . 54 Category: STRINGS . .7 32(INT): Rock Kit 1 Mono. 55 Category: BRASS . .8 33(INT): Jazz Kit Mono . 56 Category: SYNTH LEAD . .9 34(INT): Wild Kit . 57 Category: SYNTH PAD . 10 35(INT): Breakin' Kit. 58 Category: GUITAR . 11 36(INT): R'n'B Kit. 59 Category: BASS . 12 37(INT): Trapper Kit. 60 Category: DRUM/SFX. 13 38(INT): Bigroom Kit . 61 39(INT): Tropical Kit . 62 Combinations. 15 40(INT): JazzyHop Kit . 63 Category: PIANO . 15 41(INT): Japanese Catalog . 64 Category: E.PIANO . 15 Category: ORGAN . 15 GM Drum Kits . 65 Category: BELL. 16 58(GM): STANDARD . 65 Category: STRINGS . 16 59(GM): ROOM . 66 Category: BRASS . 16 60(GM): POWER . 67 Category: SYNTH LEAD . 17 61(GM): ELECTRONIC . 68 Category: SYNTH PAD . 17 62(GM): ANALOG. 69 Category: GUITAR . 18 63(GM): JAZZ . 70 Category: BASS . 18 64(GM): BRUSH. 71 Category: DRUM/SFX. 19 65(GM): ORCHESTRA . 72 66(GM): SFX. 73 Favorites . 20 FAVORITES- A . 20 Preset Arpeggio Patterns/User Arpeggio Patterns 74 FAVORITES- B . 20 FAVORITES- C . 20 Drum Track Patterns/Pattern Presets. 79 FAVORITES- D. 20 Template songs . 82 Drum Kits. 21 P00: Pop . 82 P01: Rock . 82 00(INT): Basic Kit 1. 21 P02: Jazz . 82 01(INT): Basic Kit 2. -
Leseprobe (PDF)
2017-06-19 15-53-01 --- Projekt: transcript.anzeigen / Dokument: FAX ID 012c464244629032|(S. 1- 2) VOR3891.p 464244629040 Aus: Immanuel Brockhaus Kultsounds Die prägendsten Klänge der Popmusik 1960-2014 August 2017, 450 Seiten, kart., 44,99 €, ISBN 978-3-8376-3891-2 Einzelsounds prägen die Geschichte der Popmusik. Der Clap Sound, der Synthesizer-Bass, der Klang eines DX 7 E-Pianos oder Auto-Tune sind genuine Popsounds und stehen in hohem Maße für die Identifizierung von Stilen. Immanuel Brockhaus analysiert erstmals umfassend prägende Einzelsounds in ihrem Ent- stehungs- und Entwicklungskontext und liefert damit Einblicke in Technologie, Anwen- dungspraxis und Ästhetik von Kultsounds sowie den damit verbundenen Netzwerken. Interviews mit Roger Linn, Boris Blank, And.Ypsilon und vielen anderen bekannten Akteu- ren ergänzen die Studie und verdeutlichen die Popularität und Komplexität von Sounds und Soundeffekten. Immanuel Brockhaus (Dr. phil.), geb. 1960, lehrt Popkultur mit Schwerpunkt Musiktech- nologie an der Hochschule der Künste Bern, Schweiz. Der Pianist und Komponist forscht im Bereich Sound Studies und Kulturwissenschaften. Weitere Informationen und Bestellung unter: www.transcript-verlag.de/978-3-8376-3891-2 © 2017 transcript Verlag, Bielefeld 2017-06-19 15-53-01 --- Projekt: transcript.anzeigen / Dokument: FAX ID 012c464244629032|(S. 1- 2) VOR3891.p 464244629040 Inhalt Abstract | 11 Danksagung | 13 Einleitung | 15 TEIL 1: TERMINOLOGIE DES SOUNDBEGRIFFES UND DIE KATEGORISIERUNG VON SOUND 1 Vom Klang zum Sound | 33 1.1 Vom Begriff -
Czech Music in Nebraska
Czech Music in Nebraska Ceska Hudba v Nebrasce OUR COVER PICTURE The Pavlik Band of Verdigre, Nebraska, was organized in 1878 by the five Pavlik brothers: Matej, John, Albert, Charles and Vaclav. Mr. Vaclav Tomek also played in the band. (Photo courtesy of Edward S. Pavlik, Verdigre, Neraska). Editor Vladimir Kucera Co-editor DeLores Kucera Copyright 1980 by Vladimir Kucera DeLores Kucera Published 1980 Bohemians (Czechs) as a whole are extremely fond of dramatic performances. One of their sayings is “The stage is the school of life.” A very large percentage are good musicians, so that wherever even a small group lives, they are sure to have a very good band. Ruzena Rosicka They love their native music, with its pronounced and unusual rhythm especially when played by their somewhat martial bands. A Guide to the Cornhusker State Czechs—A Nation of Musicians An importantCzechoslovakian folklore is music. Song and music at all times used to accompany man from the cradle to the grave and were a necessary accompaniment of all important family events. The most popular of the musical instruments were bagpipes, usually with violin, clarinet and cembalo accompaniment. Typical for pastoral soloist music were different types of fifes and horns, the latter often monstrous contraptions, several feet long. Traditional folk music has been at present superseded by modern forms, but old rural musical instruments and popular tunes have been revived in amateur groups of folklore music or during folklore festivals. ZLATE CESKE VZPOMINKY GOLDEN CZECH MEMORIES There is an old proverb which says that every Czech is born, not with a silver spoon in his mouth, but with a violin under his pillow. -
May 1941) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 5-1-1941 Volume 59, Number 05 (May 1941) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Music Pedagogy Commons, and the Music Performance Commons Recommended Citation Cooke, James Francis. "Volume 59, Number 05 (May 1941)." , (1941). https://digitalcommons.gardner-webb.edu/etude/250 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. M . N»J " '** fifty jM( * 'H it' » f A f ’\Jf ? I» ***v ASCAP STATES ITS POLICY OF CO-OPERATION WITH ALL MUSIC EDUCATORS, ASSOCIATIONS, AND RELATED GROUPS: music educators, teachers, _, HERE HAS BEEN some misunderstanding upon the part of institutions, and others, music of our members has been withdrawn by ASCAP from use by X to the effect that the copyrighted educational and civic programs. This is not the fact. broadcasters in non-commercial religious, stations (network controlled) will not permit The radio networks and most of the important to be per- by any member of ASCAP, regardless of the nature of the formed on their airwaves, any music composed and presented by a church, school, club, civic group, or music program, even if entirely non-commercial, students or classes. -
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♭. -
TRITON Extreme Voice Name List
J E F G 1 Contents Combinations ........................... 3 Drum kits................................ 19 GM Drum kits ......................... 36 Bank A ...................................... 3 000: Standard Kit 1 ................. 19 144: STANDARD ..................... 36 Bank B ...................................... 3 001: Standard Kit 2 ................. 19 145: ROOM ............................. 36 Bank C ...................................... 3 002: Processed Kit ................. 19 146: POWER .......................... 36 Bank D ...................................... 4 003: Jazz/Brush Kit ................. 20 147: ELECTRONIC ................. 36 Bank H ...................................... 4 004: House Kit ........................ 20 148: ANALOG ......................... 36 Bank I ........................................ 5 005: Tricky Kit .......................... 20 149: JAZZ ............................... 37 Bank J ....................................... 5 006: Drum'n'Bass Kit .............. 21 150: BRUSH ........................... 37 Bank K ...................................... 5 007: Hip Hop Kit ..................... 21 151: ORCHESTRA ................. 37 Bank L ....................................... 6 008: Psycho Kit ....................... 21 152: SFX ................................. 37 Bank M ...................................... 6 009: Percussion Kit ................. 22 010: Orchestra&Ethnic ........... 22 Preset Arpeggio Patterns / Programs ................................. 7 011: Cymbals Catalog ........... -
In Search of the Golden Age Hip-Hop Sound (1986–1996)
In Search of the Golden Age Hip-Hop Sound (1986–1996) BEN DUINKER Department of Music Theory, Schulich School of Music, McGill University DENIS MARTIN Department of Sound Recording, Schulich School of Music, McGill University ABSTRACT: The notion of a musical repertoire’s “sound” is frequently evoked in journalism and scholarship, but what parameters comprise such a sound? This question is addressed through a statistically-driven corpus analysis of hip-hop music released during the genre’s Golden Age era. The first part of the paper presents a methodology for developing, transcribing, and analyzing a corpus of 100 hip-hop tracks released during the Golden Age. Eight categories of aurally salient musical and production parameters are analyzed: tempo, orchestration and texture, harmony, form, vocal and lyric profiles, global and local production effects, vocal doubling and backing, and loudness and compression. The second part of the paper organizes the analysis data into three trend categories: trends of change (parameters that change over time), trends of prevalence (parameters that remain generally constant across the corpus), and trends of similarity (parameters that are similar from song to song). These trends form a generalized model of the Golden Age hip-hop sound which considers both global (the whole corpus) and local (unique songs within the corpus) contexts. By operationalizing “sound” as the sum of musical and production parameters, aspects of popular music that are resistant to traditional music-analytical methods can be considered. Submitted 2016 September 16; accepted 2016 December 3. KEYWORDS: corpus study, sound, Golden Age hip-hop, music production, empirical musicology THIS paper explores the concept of describing a musical repertoire by its characteristic sound.