A Teacher's Guide to Drumline Live
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Ludwig Musser Concert Percussion 2013 Catalog
Welcome to the world of Ludwig/Musser Concert Percussion. The instruments in this catalog represent the finest quality and sound in percussion instruments today from a company that has been making instruments and accessories in the USA for decades. Ludwig is “The Most famous Name in Drums” since 1909 and Musser is “First in Class” for mallet percussion since 1948. Ludwig & Musser aren’t just brand names, they are men’s names. William F. Ludwig Sr. & William F. Ludwig II were gifted percussionists and astute businessmen who were innovators in the world of percussion. Clair Omar Musser was also a visionary mallet percussionist, composer, designer, engineer and leader who founded the Musser Company to be the American leader in mallet instruments. Both companies originated in the Chicago area. They joined forces in the 1960’s and originated the concept of “Total Percussion." With our experience as a manufacturer, we have a dedicated staff of craftsmen and marketing professionals that are sensitive to the needs of the percussionist. Several on our staff are active percussionists today and have that same passion for excellence in design, quality and performance as did our founders. We are proud to be an American company competing in a global economy. This Ludwig Musser Concert Percussion Catalog is dedicated to the late William F. Ludwig II Musser Marimbas, Xylophones, Chimes, Bells, & Vibraphones are available in “The Chief.” His vision for a “Total Percussion” a wide range of sizes and models to completely satisfy the needs of beginners, company was something he created at Ludwig schools, universities and professionals. -
TC 1-19.30 Percussion Techniques
TC 1-19.30 Percussion Techniques JULY 2018 DISTRIBUTION RESTRICTION: Approved for public release: distribution is unlimited. Headquarters, Department of the Army This publication is available at the Army Publishing Directorate site (https://armypubs.army.mil), and the Central Army Registry site (https://atiam.train.army.mil/catalog/dashboard) *TC 1-19.30 (TC 12-43) Training Circular Headquarters No. 1-19.30 Department of the Army Washington, DC, 25 July 2018 Percussion Techniques Contents Page PREFACE................................................................................................................... vii INTRODUCTION ......................................................................................................... xi Chapter 1 BASIC PRINCIPLES OF PERCUSSION PLAYING ................................................. 1-1 History ........................................................................................................................ 1-1 Definitions .................................................................................................................. 1-1 Total Percussionist .................................................................................................... 1-1 General Rules for Percussion Performance .............................................................. 1-2 Chapter 2 SNARE DRUM .......................................................................................................... 2-1 Snare Drum: Physical Composition and Construction ............................................. -
PERCUSSION INSTRUCTION in BEGINNING BAND for PROGRAMS with a SINGLE TEACHER a Thesis Submitted to the Graduate School in Parti
PERCUSSION INSTRUCTION IN BEGINNING BAND FOR PROGRAMS WITH A SINGLE TEACHER A Thesis Submitted to the Graduate School In Partial Fulfillment of the Requirements For the Degree of Master of Music Micah Martin Pittsburg State University Pittsburg, Kansas May 2017 PERCUSSION INSTRUCTION IN BEGINNING BAND FOR PROGRAMS WITH A SINGLE TEACHER Micah A. Martin APPROVED: Thesis Advisor ____________________________________________ Dr. Russell L. Jones, Department of Music Committee Member ____________________________________________ Dr. Jim Clanton, Department of Music Committee Member ____________________________________________ Dr. Kenny McDougle, Teaching and Leadership PERCUSSION INSTRUCTION IN BEGINNING BAND FOR PROGRAMS WITH A SINGLE TEACHER An Abstract of the Thesis by Micah A. Martin The primary purpose of this study was to find the best methods for developing students into total percussionists in beginning band programs with only one band director on staff. A total percussionist is defined as one who is capable of playing keyboard percussion, snare drum, timpani, and the accessory instruments. The study consists of a survey to assess individual approaches to percussion instruction in beginning band. A questionnaire was developed using Google Forms and a link was emailed to band directors in Kansas, Missouri, and Arkansas. A link was also posted on the Facebook pages of the Southwest Missouri Music Educators Association and the Missouri Music Educators Association. Most of the respondents start percussion along with the other band students on both snare drum and keyboard percussion in the sixth grade. About four-fifths of them do not meet with percussionists for rehearsals or lessons outside of class. Around two-thirds indicated that their percussionists do not take lessons outside of school. -
A Descriptive Analysis of the Fourteen Mid-American Conference Athletic Band Programs
A DESCRIPTIVE ANALYSIS OF THE FOURTEEN MID-AMERICAN CONFERENCE ATHLETIC BAND PROGRAMS DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Eric W. Aho, B.M.E., M.A. The Ohio State University 2005 Dissertation Committee: Approved by: Jon R. Woods, Advisor Jan H. McCrary ___________________ Russel C. Mikkelson Advisor School of Music i Copyright by Eric W. Aho 2005 i ABSTRACT During the annual meeting of the MidAmerican Conference Band Directors Association at the Midwest Clinic in Chicago (December, 2003) it was proposed and accepted to conduct a comprehensive study describing and discussing issues and topics related to the athletic band programs of the MAC. During the meeting a model survey instrument, based on the studies of Holvik (1971), Patzig (1983), and Fuller (1995) was presented. Revisions were made by the MAC athletic band directors refreshing the model to include additional topics of value to the Association. During the spring and summer of 2004 the model was reviewed by a panel of collegiate band directors who agreed to serve as readers and advisors. In its final form the questionnaire focused on 33 topics. In April 2005, the questionnaire was sent to the 14 athletic band directors of the MAC via email in a Microsoft Excel Spreadsheet format. The spreadsheet version, presented on CD-ROM, and a standard hard copy were sent via U.S. Mail. All of the athletic band directors responded fully and positively resulting in a comprehensive collection of data describing the staffing, administration, rehearsal and performance practices, traditions and trends of the athletic bands of the MAC. -
John Coltrane Transcriptions Collection
http://oac.cdlib.org/findaid/ark:/13030/ft7290066p No online items Finding Aid for the John Coltrane Transcriptions Collection Collection processed and machine-readable finding aid created by UCLA Performing Arts Special Collections staff. UCLA Library, Performing Arts Special Collections University of California, Los Angeles, Library Performing Arts Special Collections, Room A1713 Charles E. Young Research Library, Box 951575 Los Angeles, CA 90095-1575 Phone: (310) 825-4988 Fax: (310) 206-1864 Email: [email protected] http://www2.library.ucla.edu/specialcollections/performingarts/index.cfm © 2002 The Regents of the University of California. All rights reserved. Note Arts and Humanities--Music Finding Aid for the John Coltrane 181 1 Transcriptions Collection Finding Aid of the John Coltrane Transcriptions Collection Collection number: 181 UCLA Library, Performing Arts Special Collections University of California, Los Angeles Los Angeles, CA Contact Information University of California, Los Angeles, Library Performing Arts Special Collections, Room A1713 Charles E. Young Research Library, Box 951575 Los Angeles, CA 90095-1575 Phone: (310) 825-4988 Fax: (310) 206-1864 Email: [email protected] URL: http://www2.library.ucla.edu/specialcollections/performingarts/index.cfm Processed by: UCLA Performing Arts Special Collections staff Date Completed: 2001 Encoded by: Bryan Griest © 2002 The Regents of the University of California. All rights reserved. Descriptive Summary Title: John Coltrane Transcriptions Collection Collection number: 181 Creator: Coltrane, John, 1926-1967 Extent: 6 boxes(3 linear ft.) Repository: University of California, Los Angeles. Library. Performing Arts Special Collections Los Angeles, California 90095-1575 Abstract: This collection consists of transcriptions by Andrew White of sound recordings Physical location: Stored off-site at SRLF. -
Cleveland Public Library Digital Gallery
TTvJX *%£* Annual Board Page 6 Introduction 8 Faculty 10 Officers of Senior Class 14 Seniors, Class of 1908 15 Postgraduates 30 Juniors, Class of 1909 33 Sophomores, Class of 1910 37 Freshmen, Class of 1911 43 Commencement Speakers 50 Athletics 51 Societies 66 Debates 74 Music 75 Rhetoricals 78 Alumni 83 Literature 94 Jokes 153 Calendar 156 Advertisements 192 NINE TEEN HUNDRED AND EIGHT Annual Board Cleve H. Pomeroy (4) Editor-in-Chief Bessie Kenealy (4) Ass't Editor Harold Mosier (4) Business Manager Alfred M. Corrigan (4J Assistant Mildred Ockert (4) Joke Editor Rotha Richmond (4) Societies and Alumni R. Reid Coleman (4) Athletics William Sharp (3) Art Editor Rhea Talmage (3) M. Louise Coulton (2) Associate Editors David K.Ford (1) Miss J. Cora Bennett Advisory Board Mr. Gabriel Smith £1 JlS: i? Vilb rjjii^hl Vebsfi %&M [Mfy <Xu&L ilyl/il? Vf #1? i^tfiy yourrJ • &<KJ 12 EAST HIGH SCHOOL ANNUAL Teachers Mr. Benjamin U. Rannells Mr. John Eisenhauer, Jr. Ohio Wesleyan; A. B. Western Reserve; A. B. Principal Algebra, Geometry Mr. Daniel W. Lothman Miss Julia Fenn Harvard; A. B. Western Reserve; Ph. B. Assistant Principal Latin Latin Mr. Edwin Leigh Findley Miss Frances A. Adams Buchtel; Johns Hopkins; A. M. Vassar; A. B. Greek, Latin Latin Mr. C. J. Foskett Miss Frances Baker Brown University; Ph. B. Mechanical Drawing Xenia College; M. L. University of Chicago; Graduate Work Mrs. Mathilde S. Grossart English German Mr. Lamar T. Beman Mr. Henry F. Haber Western Reserve; Ohio State; Wiscon Baldwin-Wallace; B. S. sin A. -
Black and Blue 33.092 1974 Grande Parade Du Jazz Black and Blue 950.504
Jazz Interpret Titel Album/Single Label / Nummer Jahr «Nice All Stars» black and blue 33.092 1974 Grande Parade du Jazz black and blue 950.504 Abdul-Malik Ahmed The Music of New Jazz NJ 8266 1961, 2002 Adams Pepper 10 TO 4 AT THE 5 SPOT Riverside 12-265 1958, 1976 Adderley Julian "Cannonball" in the land of EmArcy MG 36 077 1956 Adderley Cannonball sophisticated swing EmArcy MG 36110 Adderley Cannonball Jump for Joy Mercury MG 36146 1958 Adderley Cannonball TAKES CHARGE LANDMARKLLP-1306 1959, 1987 Adderley Cannonball African Waltz Riverside OJC-258 (RLP-9377) 1961 Adderley Cannonball Quintet Plus Riverside OJC-306 (RLP-9388) 1961 Adderley Cannonbal Sextet In New York Riverside OJC-142 (RLP-9404) 1962 Adderley Cannonball Cannonball in Japan Capitol ECJ-50082 1966 Adderley Cannonball Masters of jazz EMI Electrola C 054-81 997 1967 Adderley Cannonball Soul of the Bible SABB-11120 1972 Adderley Cannonball Nippon Soul Riverside OJC-435 (RLP-9477) 1990 Adderley Cannonball The quintet in San Francisco feat. Nat Adderley Riverside OJC-035 (RLP-1157) Adderley Cannonball Know what I mean ? with Bill Evans Riverside RLP 9433, alto AA 021 Adderley Julian Portrait of Cannonball Riverside OJC-361 (RLP-269) 1958 Adderley Nat We remember Cannon In + Out Records 7588 1991 Adderley with Milt Jackson Things are getting better Riverside OJC-032 (RLP-1128) 1958 Adderly Julian "Cannonball" & strings 1955 Trip Jazz TLP-5508 Albam Manny Jazz lab vol.1 MCA Coral PCO 7177 1957, 1974 Alexander Monty Monty strikes again MPS 68.044 1974, 1976 Alexander Monty Overseas -
Osobnost Johna Coltrana a Jeho Vliv Na Vývoj Jazzové Hudby
MASARYKOVA UNIVERZITA V BRNĚ PEDAGOGICKÁ FAKULTA Katedra hudební výchovy Osobnost Johna Coltrana a jeho vliv na vývoj jazzové hudby Diplomová práce Vypracoval: Petr Smékal Vedoucí práce: PhDr. Marek Sedláček, Ph.D. Brno 2009 Prohlašuji, že jsem diplomovou práci zpracoval samostatně a použil jen prameny uvedené v seznamu literatury. Souhlasím, aby práce byla uložena na Masarykově univerzitě v Brně v knihovně Pedagogické fakulty a zpřístupněna ke studijním účelům. V Brně dne 20. 4. 2009 ........................ podpis - 2 Děkuji především PhDr. Markovi Sedláčkovi, Ph.D. za odborné vedení této práce, za podporu a spolupráci. - 3 OBSAH: 1 ÚVOD ............................................................................................................................ 6 2 HUDEBNÍ VZDĚLÁNÍ ............................................................................................... 7 3 HUDEBNÍ VLIVY ..................................................................................................... 12 4 RANÉ OBDOBÍ .......................................................................................................... 15 4.1 HUDEBNÍ PŮSOBENÍ V LETECH 19471955 ............................................................ - 15 - 4.2 ZLOMOVÁ LÉTA 1955 - 1957 ................................................................................. - 18 - 4.3 DUCHOVNÍ PROBUZENÍ .......................................................................................... - 19 - 4.4 ZPĚT U MILESE DAVISE ........................................................................................ -
The Evolution of Musical and Visual Design
4 r The evolution of e t p a musical and h C visual design by Dr. Rosalie Sward All of the corps that came on the scene early 1981; Michael J. Cahill’s article, “A Capsule appreciate it if you would report to me any and have disappeared, all of the corps that History of the Drum and Bugle Corps,” which corrections or additions that you feel should be arrived early and still remain, and all of the appeared in the October, 1982, issue of the made in conjunction with my portion of this corps that came later, had something special Instrumentalist magazine, from which I derived book and, at a later, date I may be able to make that they contributed to the drum and bugle my overview and much of the early history of those available. Please e-mail me at corps activity. It is called evolution. the activity; and Brian Tolzmann’s Drum Corps [email protected]. To fully comprehend the evolution of music Information Archives, which supplied the corps Finally, please note that when individual in the drum and bugle corps activity, one must repertoires that I did not have. corps repertoires are listed, there is often just a also consider the changes in the visual area of A number of other resources and sampling of the program for that year. If the the activity that were taking place knowledgeable people have provided important statement says “their program included . .” simultaneously, as they did not exist information. These will be listed at the end of that means that the listed selections may be independently. -
Blue Note Label Discography Was Compiled Using Our Record Collections, Schwann Catalogs from 1949 to 1982, a Phono-Log from 1963
Discography Of The Blue Note Label Blue Note was started in New York City in 1938 by Alfred W. Lion. Blue Note recorded jazz only. The following history of the Blue Note record label is from the Blue Note Website (bluenote.com). “In 1925, 16-year old Alfred Lion noticed a concert poster for Sam Wooding's orchestra near his favorite ice-skating arena in his native Berlin, Germany. He'd heard many of his mother's jazz records and began to take an interest in the music, but that night his life was changed. The impact of what he heard live touched a deep passion within him. His thirst for the music temporarily brought him to New York in 1928 where he worked on the docks and slept in Central Park to get closer to the music. On December 23, 1938, Lion attended the celebrated Spirituals to Swing concert at Carnegie Hall. The power, soul and beauty with which boogie woogie piano masters Albert Ammons and Meade Lux Lewis rocked the stage gripped him. Exactly two weeks later, on January 6 at 2 in the afternoon, he brought them into a New York studio to make some recordings. They took turns at the one piano, recording four solos each before relinquishing the bench to the other man. The long session ended with two stunning duets. Blue Note Records was finally a reality. The label's first brochure in May of 1939 carried a statement of purpose that Lion rarely strayed from throughout the many styles and years during which he built one of the greatest jazz record companies in the world. -
Percussion Instruction in Beginning Band for Programs with a Single Teacher
Pittsburg State University Pittsburg State University Digital Commons Electronic Thesis Collection Spring 5-12-2017 PERCUSSION INSTRUCTION IN BEGINNING BAND FOR PROGRAMS WITH A SINGLE TEACHER Micah A. Martin Pittsburg State University, [email protected] Follow this and additional works at: https://digitalcommons.pittstate.edu/etd Part of the Music Education Commons, Music Pedagogy Commons, Music Practice Commons, and the Other Music Commons Recommended Citation Martin, Micah A., "PERCUSSION INSTRUCTION IN BEGINNING BAND FOR PROGRAMS WITH A SINGLE TEACHER" (2017). Electronic Thesis Collection. 213. https://digitalcommons.pittstate.edu/etd/213 This Thesis is brought to you for free and open access by Pittsburg State University Digital Commons. It has been accepted for inclusion in Electronic Thesis Collection by an authorized administrator of Pittsburg State University Digital Commons. For more information, please contact [email protected]. PERCUSSION INSTRUCTION IN BEGINNING BAND FOR PROGRAMS WITH A SINGLE TEACHER A Thesis Submitted to the Graduate School In Partial Fulfillment of the Requirements For the Degree of Master of Music Micah Martin Pittsburg State University Pittsburg, Kansas May 2017 PERCUSSION INSTRUCTION IN BEGINNING BAND FOR PROGRAMS WITH A SINGLE TEACHER Micah A. Martin APPROVED: Thesis Advisor ____________________________________________ Dr. Russell L. Jones, Department of Music Committee Member ____________________________________________ Dr. Jim Clanton, Department of Music Committee Member ____________________________________________ Dr. Kenny McDougle, Teaching and Leadership PERCUSSION INSTRUCTION IN BEGINNING BAND FOR PROGRAMS WITH A SINGLE TEACHER An Abstract of the Thesis by Micah A. Martin The primary purpose of this study was to find the best methods for developing students into total percussionists in beginning band programs with only one band director on staff. -
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