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Flatpicking Guitar Magazine Index of Reviews
Flatpicking Guitar Magazine Index of Reviews All reviews of flatpicking CDs, DVDs, Videos, Books, Guitar Gear and Accessories, Guitars, and books that have appeared in Flatpicking Guitar Magazine are shown in this index. CDs (Listed Alphabetically by artists last name - except for European Gypsy Jazz CD reviews, which can all be found in Volume 6, Number 3, starting on page 72): Brandon Adams, Hardest Kind of Memories, Volume 12, Number 3, page 68 Dale Adkins (with Tacoma), Out of the Blue, Volume 1, Number 2, page 59 Dale Adkins (with Front Line), Mansions of Kings, Volume 7, Number 2, page 80 Steve Alexander, Acoustic Flatpick Guitar, Volume 12, Number 4, page 69 Travis Alltop, Two Different Worlds, Volume 3, Number 2, page 61 Matthew Arcara, Matthew Arcara, Volume 7, Number 2, page 74 Jef Autry, Bluegrass ‘98, Volume 2, Number 6, page 63 Jeff Autry, Foothills, Volume 3, Number 4, page 65 Butch Baldassari, New Classics for Bluegrass Mandolin, Volume 3, Number 3, page 67 William Bay: Acoustic Guitar Portraits, Volume 15, Number 6, page 65 Richard Bennett, Walking Down the Line, Volume 2, Number 2, page 58 Richard Bennett, A Long Lonesome Time, Volume 3, Number 2, page 64 Richard Bennett (with Auldridge and Gaudreau), This Old Town, Volume 4, Number 4, page 70 Richard Bennett (with Auldridge and Gaudreau), Blue Lonesome Wind, Volume 5, Number 6, page 75 Gonzalo Bergara, Portena Soledad, Volume 13, Number 2, page 67 Greg Blake with Jeff Scroggins & Colorado, Volume 17, Number 2, page 58 Norman Blake (with Tut Taylor), Flatpickin’ in the -
Clawhammer Illuminations What Would THESE Guys Do? Five High-Profile Progressive Clawhammer Artists Answer
Clawhammer Illuminations What would THESE guys do? Five high-profile progressive clawhammer artists answer common questions concerning the banjo Clawhammer Illuminations What would THESE guys do? Five high-profile progressive clawhammer artists answer common questions concerning the banjo Online banjo forums are filled with all sorts of questions from players interested in instrument choices, banjo set up, personal playing styles, technique, etc. As valuable as these forums might be, they can also be confusing for players trying to navigate advice posted from banjoists who's playing experience might range from a few weeks to literally decades. It was these forum discussions that started me thinking about how nice it would to have access to a collection of banjo related questions that were answered by some of the most respected "progressive" clawhammer banjoists performing today. I am very excited about this project as I don't believe any comprehensive collection of this nature has been published before… Mike Iverson 1 © 2013 by Mikel D. Iverson Background Information: Can you describe what it is about your personal style of play that sets you apart from other clawhammer banjoists? What recording have you made that best showcases this difference? Michael Miles: As musicians, I believe we are the sum of what he have heard. So the more you listen, the richer you get. My personal musical style on the banjo is in great part rooted in Doc Watson and JS Bach. Through Doc Watson, I learned about the phrasing of traditional music. Through Bach, I learned the majesty and reach of all music. -
Cuyamaca College Course Outline of Record Music 226
Curriculum Committee Approval: 09/01/2020 Lecture Contact Hours: 32-36; Homework Hours: 64-72; Total Student Learning Hours: 96-108 CUYAMACA COLLEGE COURSE OUTLINE OF RECORD MUSIC 226 − CLASS GUITAR III 2 hours lecture, 2 units Catalog Description Guitar for non-music majors. Continuation of MUS 127 with an emphasis on high position reading, introductory chord and scale alterations, and technical development. Prerequisite “C” grade or higher or “Pass” in MUS 127 or equivalent Entrance Skills Without the following skills, competencies and/or knowledge, students entering this course will be highly unlikely to succeed: 1) Read and play guitar music from staff notation in II position. 2) Play and use a bar chord form with variations to form major, minor and dominant seventh chords. 3) Employ closed position scale fingerings to play major scales in the key signatures of G and D. 4) Read and perform rhythms using eighth notes. 5) Transpose melodies and chord progressions to other keys. 6) Read and play music from lead sheets. 7) Play basic arpeggio patterns using finger style technique. Course Content 1) Reading and playing intermediate level solo and ensemble music for the guitar 2) Scales and chords in all major and minor keys 3) Melodic position studies in all positions 4) Intermediate finger style technique 5) Fingerboard harmony and solo guitar arranging Course Objectives Students will be able to: 1) Read and play solo guitar music using both plectrum and finger style technique 2) Construct and play various seventh chords in closed position fingerings 3) Read staff notation in all 12 fingerboard positions 4) Play stylistically appropriate accompaniment patterns 5) Analyze the harmony and structure of songs and guitar works and transpose them to other keys 6) Perform intermediate level ensemble music 7) Create rudimentary solo guitar arrangements from lead sheets Method of Evaluation A grading system will be established by the instructor and implemented uniformly. -
SERIES: 10 Concerts (20% Savings)
6 Kazuhito YAMASHITA Friday, October 24, 2014 7:30 pm San Francisco Conservatory of Music $40/$30 “Hearing him is a little like being used to Rococo politesse elegantly delivered on the clavichord by Philipp Emanuel Bach, say, and suddenly for the first time hearing Franz Liszt play a 20th century Steinway.” –Guitar & Lute “If you can, and the opportunity arises, travel a thousand miles to hear this phenomenal guitarist.” –Mantanya Ophee en.wikipedia.org/wiki/Kazuhito_Yamashita (4) BEIJING Guitar Duo Saturday, November 15, 2014 7:30 pm St. Mark’s Lutheran Church $45/$30* The stellar, Grammy nominated Duo returns for their 4th Omni Foundation appearance. “…a musically stunning lesson in ensemble playing. Like concentric circles, Meng Su and Yameng Wang performed from a common center.” –Cleveland Classical beijingguitarduo.com (12) David RUSSELL The ROMEROS “Royal Family of the Guitar” Saturday, March 7, 2015 7:30 pm Pepe, Celin, Celino and Lito Romero COMPLETE INFORMATION: St. Mark’s Lutheran Church $50/$30* Saturday, December 6, 2014 7:30 pm www.OmniConcerts.com SFJAZZ Center $50/$40/$30* An Omni Foundation “Annual Artist” PH: (415) 242-4500 or (650) 726-1203 “... Mr. Russell made his mastery evident without ever de- Celebrating the 70th birthday of Maestro Pepe Romero, Los viating from an approach that places musical values above Romeros continue the tradition begun by Pepe and Celin’s mere display. It was apparent to the audience throughout father, Celedonio Romero, founder and creator of the the recital that Mr. Russell possesses a talent of extraordi- quartet. As the family says, “He is the spirit of the quartet; nary dimension”. -
Guitar Performance in the Nineteenth Centuries and Twentieth Centuries Paul Sparks
Performance Practice Review Volume 10 Article 7 Number 1 Spring Guitar Performance in the Nineteenth Centuries and Twentieth Centuries Paul Sparks Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Sparks, Paul (1997) "Guitar Performance in the Nineteenth Centuries and Twentieth Centuries," Performance Practice Review: Vol. 10: No. 1, Article 7. DOI: 10.5642/perfpr.199710.01.07 Available at: http://scholarship.claremont.edu/ppr/vol10/iss1/7 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Guitar Performance in the Nineteenth and Twentieth Centuries Paul Sparks By 1800 guitars with six single strings (tuned EAdgbe') had become the norm. The rosette gave way to an open sound hole, while the neck was lengthened and fitted with a raised fingerboard extending to the sound hole. Nineteen fixed metal frets eventually became standard, the top note sounding b". The bridge was raised, the body enlarged, and fan-strutting introduced beneath the table to support higher tension strings. Treble strings were made of gut (superseded by more durable nylon after World War 11), bass strings from metal wound on silk (or, more recently, nylon floss). Tablature became obsolete, guitar music being universally written in the treble clef, sounding an octave lower than written. By the 1820s makers such as Louis Panormo of London were replacing wooden tuning pegs with machine heads for more precise tuning, and creating the prototype of the modem classical guitar (a design perfected in mid-century by Antonio Torres). -
Jemf Quarterly
JEMF QUARTERLY JOHN EDWARDS MEMORIAL FOUNDATION VOL. XII SPRING 1976 No. 41 THE JEMF The John Edwards Memorial Foundation is an archive and research center located in the Folklore and Mythology Center of the University of California at Los Angeles. It is chartered as an educational non-profit corporation, supported by gifts and contributions. The purpose of the JEMF is to further the serious study and public recognition of those forms of American folk music disseminated by commercial media such as print, sound recordings, films, radio, and television. These forms include the music referred to as cowboy, western, country & western, old time, hillbilly, bluegrass, mountain, country ,cajun, sacred, gospel, race, blues, rhythm' and blues, soul, and folk rock. The Foundation works toward this goal by: gathering and cataloguing phonograph records, sheet music, song books, photographs, biographical and discographical information, and scholarly works, as well as related artifacts; compiling, publishing, and distributing bibliographical, biographical, discographical, and historical data; reprinting, with permission, pertinent articles originally appearing in books and journals; and reissuing historically significant out-of-print sound recordings. The Friends of the JEMF was organized as a voluntary non-profit association to enable persons to support the Foundation's work. Membership in the Friends is $8.50 (or more) per calendar year; this fee qualifies as a tax deduction. Gifts and contributions to the Foundation qualify as tax deductions. DIRECTORS ADVISORS Eugene W. Earle, President Archie Green, 1st Vice President Ry Cooder Fred Hoeptner, 2nd Vice President David Crisp Ken Griffis, Secretary Harlan Dani'el D. K. Wilgus, Treasurer David Evans John Hammond Wayland D. -
User Manual 2
USER MANUAL 2 Information in this manual is subject to change without notice and does not represent a commitment on the part of Applied Acoustics Systems DVM Inc. The software described in this manual is furnished under a license agreement. The software may be used only in accordance of the terms of this license agreement. It is against the law to copy this software on any medium except as specifically allowed in the license agreement. No part of this manual may be copied, photocopied, reproduced, translated, distributed or converted to any electronic or machine-readable form in whole or in part without prior written approval of Applied Acoustics Systems DVM Inc. Copyright c 2009 Applied Acoustics Systems DVM Inc. All rights reserved. Printed in Canada. Program Copyright c 2009 Applied Acoustics Systems, Inc. All right reserved. Strum VG is a Trademark of Applied Acoustics Systems DVM Inc. Windows 98, 2000, NT, ME, XP and DirectX are either trademarks or registered trademarks of Microsoft Corporation. Macintosh, Mac OS and Audio Units are registered trademarks of Apple Corporation. VST Instruments and ASIO are trademarks of Steinberg Soft Und Hardware GmbH. RTAS is a registered trademarks of Digidesign. Adobe and Acrobat are trademarks of Adobe Systems incorporated. All other product and company names are either trademarks or registered trademarks of their respective owner. Unauthorized copying, renting or lending of the software is strictly prohibited. Visit Applied Acoustics Systems DVM Inc. on the World Wide Web at www.applied-acoustics.com Contents 1 Introduction 9 1.1 System Requirements . 9 1.2 Installation . 10 1.3 Authorization and Registration . -
THE PLECTRUM BANJO by Ron Hinkle
THE PLECTRUM BANJO BEYOND CHORD MELODY A New Approach to Advancement by Ron Hinkle BCM MUSIC, LLC Published by: BCM Music, LLC 451 Simpson Drive Huntsville, AL 35808 Copyright © 2011 by Ron Hinkle No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, without the prior permission of BCM Music, LLC. Please read TERMS OF STUDENT USE AGREEMENT before buying this book. In compliance with U.S. copyright laws, regulations and restrictions, this book and the song arrangements within are for the exclusive use of my students. As a banjo teacher, my objective is to encourage and stimulate the creativity of my banjo students to the ultimate enrichment of the general public. By buying this book you are agreeing to accept the terms and the conditions contained herein. If you do not agree with these terms and conditions, you must not buy or use this book or arrangements or any of the materials contained within. By buying The Plectrum Banjo: Beyond Chord Melody , you attest that you are applying for status as a banjo student and will use the materials within the book for educational purposes only. My selling and delivery of the book to you constitutes my acceptance of your enrollment as a banjo student. Ron Hinkle, Banjo Instructor Library of Congress control number: 2011911833 ISBN-13: 978-0-615-47418-2 Manufactured in the United States of America. All of my work is humbly dedicated to: The young banjoists of today and tomorrow. -
Guitar in Oxford Music Online
Oxford Music Online Grove Music Online Guitar article url: http://www.oxfordmusiconline.com:80/subscriber/article/grove/music/43006 Guitar (Fr. guitare; Ger. Gitarre; It. chitarra; Sp. guitarra; Port.viola; Brazilian Port. violão). A string instrument of the lute family, plucked or strummed, and normally with frets along the fingerboard. It is difficult to define precisely what features distinguish guitars from other members of the lute family, because the name ‘guitar’ has been applied to instruments exhibiting a wide variation in morphology and performing practice. The modern classical guitar has six strings, a wooden resonating chamber with incurved sidewalls and a flat back. Although its earlier history includes periods of neglect as far as art music is concerned, it has always been an instrument of popular appeal, and has become an internationally established concert instrument endowed with an increasing repertory. In the Hornbostel and Sachs classification system the guitar is a ‘composite chordophone’ of the lute type (seeLUTE, §1, andCHORDOPHONE). 1. Structure of the modern guitar. Fig.1 shows the parts of the modern classical guitar. In instruments of the highest quality these have traditionally been made of carefully selected woods: the back and sidewalls of Brazilian rosewood, the neck cedar and the fingerboard ebony; the face or table, acoustically the most important part of the instrument, is of spruce, selected for its resilience, resonance and grain (closeness of grain is considered important, and a good table will have a grain count about 5 or 6 per cm). The table and back are each composed of two symmetrical sections, as is the total circumference of the sidewalls. -
Assistive Technology Individual Guitar String Plucker
Assistive Technology Individual Guitar String Plucker A Major Qualifying Project Report Submitted to the Faculty of WORCESTER POLYTECHNIC INSTITUTE in Partial Fulfillment of the Requirements for the Degree of Bachelor of Science by: Jia Cheng Zhou Lorenzo Dube Michael Eaton Andonios Kouninis Professor Holly K. Ault, Advisor Submitted on March 23, 2018 This report represents the work of WPI undergraduate students. It has been submitted to the faculty as evidence of completion of a degree requirement. WPI publishes these reports on its website without editorial or peer review. Abstract Music has the ability to help children and adults with developmental disabilities grow cognitively and engage socially. The goal of this project is to design a device to allow people with various physical abilities to pluck individual guitar strings. For this device, custom acrylic plectrums, each attached to two electromagnetic actuators, are suspended above the sound hole or pickups of the guitar on a mounting plate. A wooden frame clamping to the body of the guitar supports the mounting plate. Two Arduino Uno microcontrollers facilitate the alternating triggering of the actuator pairs. The mechanism can successfully pluck each individual guitar string, but will require improved coding and mounting design to allow for easier component adjustments based on guitar size and type. ii Table of Contents Abstract ........................................................................................................................................... ii List of -
Gibson 1937 Catalog X
INDEX GIBSON INSTRUMENTS G UI T A RS Ma ndolin Banjos . .. • . .. .. 52 Carved Top Modell ................ .. 2-21 Guitar Ba njos ..............•....... ..... 52 Flat Top Models ........... ... 22-27 Callo Banjo. .. .. .. .. .. .. • . 52 Tenor Guital"l .. ...... ..... ..• •.. ... 28 MANDOLINS ............................. 53-6 1 Plectrum Guittlrs ......... .... 28 ELECTRIC MANDOLIN ..... •.. .. •. .• ..... , 35 Hawaiian Guital"l ................. • ... ... 29-30 MANDOLAS ..... .. ... ...•....•.. .. 63 Electric Hawaiian Guitars ............ .. 32-)4 MANOO-CEllOS .. ...... ...... .. ... ... 03 El ectric Spani5h Suit,," ....... .. ..•.... 3S HARP GUiTAR .............. ... .... b4 MANDO-BASS . • . b4 BAN JOS UKULELES ..... ................ .. ' 65 Tenor Banjos . ....... .... • .... .. 37-48 Plectrum SlI"jos .........•.............. .. 49 TEN O R UKULELES . ...................... 65 Five String Banjos .............. 51 UKULELE BANJOS ....... .. ... ............. 05 GIBSON ACCESSORIE S BANJO ARM RESTS .. 77 CAS ES ........... 81 NECK CORDS ... ........ 77 PEGS BANJO HEADS ....... ... 77 CASE HANDLES ................ .81 Benio , ..•. 77 EN D PiNS ...... .............. 80 ... .. 78 BA NJ O HEAD CLEANER r. ~ o. G"it• • .. .............. 71> BANJO HEAD GUARD ... .. 7'1 FINGERBOARDS ... '1 FI NGER80ARD NUTS .. ..• 81 PEG BUnONS ..... 79 BANJO HOOKS AND NU TS . .. .. 7'1 FRETS ...... 81 PICkS . ...... 11·73 BANJO RESONATOR STUDS , ....• .. 77 GUITAR PICK GUARDS ....... 71> PITCH PIPES . ..... 80 BANJO STANDS . ..••.. .. .8 1 GUITAR STANDS.. .. . -
Acoustic and Plectrum Guitar
ACOUSTIC GUITAR DIGITAL GRADES: TECHNICAL WORK 2 / Initial 3 / Grade 1 4 / Grade 2 5 / Grade 3 6 / Grade 4 7 / Grade 5 8 / Grade 6 9 / Grade 7 10 / Grade 8 Before you begin your technical work, you must close your book and remove it from your music stand. You may use a list of the scales/arpeggios/exercises/chord sequences/cadences/chord progressions you are performing but no information other than their titles and dynamics should be written here. You must hold this list up to the camera before placing it on the music stand. It is permissible for someone in the room to verbally prompt you to play each one, but no additional information to the above should be announced. 1 Acoustic Guitar - Initial DIGITAL GRADES: TECHNICAL WORK Candidates prepare either section 1 or section 2. Choice of technical work should be indicated on the submission information form. All requirements are in Trinity’s Guitar Scales, Arpeggios & Studies from 2016: Initial-Grade 5. Further information is available in the graded syllabus. Either: 1. Scales and arpeggios set A (from memory) All requirements should be performed. i) Scales: • C major • D minor to 5th, ascending and min. tempo: mf ii) Arpeggios: descending ♩ = 60 • G major • D minor Or: 2. Scales and arpeggios set B (from memory) All requirements should be performed. i) Scales: • G major • D minor to 5th, ascending and min. tempo: mf ii) Arpeggios: descending ♩ = 60 • C major • D minor 2 Acoustic Guitar - Grade 1 DIGITAL GRADES: TECHNICAL WORK Candidates prepare either section 1 or section 2.