Scoring Percussion and Drum Set Parts in Sibelius Tom Rudolph, Presenter Email: [email protected] Website
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
General MIDI 2 February 6, 2007
General MIDI 2 February 6, 2007 Version 1.2a Including PAN Formula, MIDI Tuning Changes and Mod Depth Range Recommendation Published By: The MIDI Manufacturers Association Los Angeles, CA PREFACE Abstract: General MIDI 2 is a group of extensions made to General MIDI (Level 1) allowing for expanded standardized control of MIDI devices. This increased functionality includes extended sounds sets and additional performance and control parameters. New MIDI Messages: Numerous new MIDI messages were defined specifically to support the desired performance features of General MIDI 2. The message syntax and details are published in the Complete MIDI 1.0 Detailed Specification version 1999 (and later): MIDI Tuning Bank/Dump Extensions (C/A-020) Scale/Octave Tuning (C/A-021) Controller Destination Setting (C/A-022) Key-Based Instrument Controll SysEx Messages (C/A-023) Global Parameter Control SysEx Message (C/A-024) Master Fine/Course Tuning SysEx Messages (C/A-025) Modulation Depth Range RPN (C/A-026) General MIDI 2 Message: Universal Non-Realtime System Exclusive sub-ID #2 under General MIDI sub-ID #1 is reserved for General MIDI 2 system messages (see page 21 herein). Changes from version 1.0 to version 1.1: o Section 3.3.5: changed PAN formula per RP-036 o Section 4.7: Added new recommendations per RP-037 Changes from version 1.1 to version 1.2: o Section 3.4.4: added recommendation for Mod Depth Range Response per RP-045 o V 1.2a is reformatted for PDF distribution General MIDI 2 Specification (Recommended Practice) RP-024 (incorporating changes per RP-036, RP-037, and RP-045) Copyright ©1999, 2003, and 2007 MIDI Manufacturers Association Incorporated ALL RIGHTS RESERVED. -
From Neumes to Notation: a Thousand Years of Passing on the Music by Charric Van Der Vliet
From Neumes to Notation: A Thousand Years of Passing On the Music by Charric Van der Vliet Classical musicians, in the terminology of the 17th and 18th century musical historians, like to sneer at earlier music as "primitive", "rough", or "uncouth". The fact of the matter is that during the thousand years from 450 AD to about 1450 AD, Western Civilization went from no recording of music at all to a fully formed method of passing on the most intricate polyphony. That is no small achievement. It's attractive, I suppose, to assume the unthinking and barbaric nature of our ancestors, since it implies a certain smugness about "how far we've come." I've always thought that painting your ancestors as stupid was insulting both to them and to yourself. The barest outline of a thousand year journey only hints at the difficulties our medieval ancestors had to face to be musical. This is an attempt at sketching that outline. Each of the sub-headings of this lecture contains material for lifetimes of musical study. It is hoped that outlining this territory may help shape where your own interests will ultimately lie. Neumes: In the beginning, choristers needed reminders as to which way notes went. "That fifth note goes DOWN, George!" This situation was remedied by noting when the movement happened and what direction, above the text, with wavy lines. "Neume" was the adopted term for this. It's a Middle English corruption of the Greek word for breath, "pneuma." Then, to specify note's exact pitch was the next innovation. -
Course Syllabus
Course Name: Music Fundamentals Instructor Name: Course Number: MUS-102 Course Department: Music Course Term: Last Revised by Department: Spring 2021 Total Semester Hour(s) Credit: 3 Total Contact Hours per Semester: Lecture: 45 Lab: Clinical: Internship/Practicum: Catalog Description: This course is an introduction to music theory and the fundamental principles of traditional music, including melody, rhythm, harmony, basic skills and vocabulary. Emphasis is on music reading, application, notation, keytime signatures and aural training. This course is for majors and non-majors with limited background in music fundamentals or as preparation for music major theory courses. Previous background and instruction for music majors. No prerequisites for non-majors. Credit for Prior Learning: There are no Credit for Prior Learning opportunities for this course. Textbook(s) Required: No standard required text. Purchase of materials for future reference as assigned by instructor Access Code: NA Materials Required: Instrument, Solos, books, study (etude) materials. Suggested Materials: Metronome and tuner. Courses Fees: None Institutional Outcomes: Critical Thinking: The ability to dissect a multitude of incoming information, sorting the pertinent from the irrelevant, in order to analyze, evaluate, synthesize, or apply the information to a defendable conclusion. Effective Communication: Information, thoughts, feelings, attitudes, or beliefs transferred either verbally or nonverbally through a medium in which the intended meaning is clearly and correctly understood by the recipient with the expectation of feedback. Personal Responsibility: Initiative to consistently meet or exceed stated expectations over time. Department Outcomes: 1. Students will analyze diverse perspective in arts and humanities. 2. Students will examine cultural similarities and differences relevant to arts and humanities. -
General Midi Specifications
General MIDI 11/5/03 8:28 AM GENERAL MIDI Not everyone becomes involved with MIDI and electronic instruments because they want to create all kinds of new sounds. Some of us are just musicians who want a palette of good sounds with which to compose and perform. A need arose in the computer world for better sounds in games and multimedia. Those needs were recognized, and a new part of the MIDI standard was born. Welcome to General MIDI. No, not a high ranking musical military officer, General MIDI (GM) is an unusual part of the MIDI specification called a recommended practice. It isn't a MIDI message or command. Instead, it is a description of a class of musical instruments that all share a consistent set of feature and capabilities. This means that music created for playback on a GM instrument will sound musically consistent on any GM instrument. A typical MIDI system is very personalized. You choose the instruments you want to use and the sounds that are in each instrument. Manufacturers developing new synthesizers are free to put any kind of sounds in teh machine as they wish, in any order. Sequences you record in your studio with your equipment will not automatically fit into other MIDI systems. You will need to put some amount of effort in to redirecting channels and changing pitch change messages to fit the new gear you are using. SPECIFICATIONS All of this extra noodling disappears with GM. Any instrument that bears the mighty GM logo must adhere to a predetermined list of feature and patch assignments. -
Proposal to Encode Mediæval East-Slavic Musical Notation in Unicode
Proposal to Encode Mediæval East-Slavic Musical Notation in Unicode Aleksandr Andreev Yuri Shardt Nikita Simmons PONOMAR PROJECT Abstract A proposal to encode eleven additional characters in the Musical Symbols block of Unicode required for support of mediæval East-Slavic (Kievan) Music Notation. 1 Introduction East Slavic musical notation, also known as Kievan, Synodal, or “square” music notation is a form of linear musical notation found predominantly in religious chant books of the Russian Orthodox Church and the Carpatho-Russian jurisdictions of Orthodoxy and Eastern-Rite Catholicism. e notation originated in present-day Ukraine in the very late 1500’s (in the monumental Irmologion published by the Supraśl Monastery), and is derived from Renaissance-era musical forms used in Poland. Following the political union of Ukraine and Muscovite Russia in the 1660’s, this notational form became popular in Moscow and eventually replaced Znamenny neumatic notation in the chant books of the Russian Orthodox Church. e first published musical chant books using Kievan notation were issued in 1772, and, though Western musical notation (what is referred to as Common Music Notation [CMN]) was introduced in Russia in the 1700’s, Kievan notation continued to be used. As late as the early 1900’s, the publishing house of the Holy Synod released nearly the entire corpus of chant books in Kievan notation. e Prazdniki and Obihod chant books from this edition were reprinted in Russia in 2004; the compendium Sputnik Psalomschika (e Precentor’s Companion) was reprinted by Holy Trinity Monastery in Jordanville, NY, in 2012. ese books may be found in the choir los of many monasteries and parishes today. -
Drum Kit List
DRUM KIT LIST LISTE DES KITS DE BATTERIE LISTA DE CONJUNTOS DE BATERÍA DRUM KIT-LISTE Drum Kit List / Liste des kits de batterie/ Lista de conjuntos de batería / Drum Kit-Liste • Same as Standard Kit 1 • Comme pour Standard Kit 1 • No Sound • Absence de son • Each percussion voice uses one note. • Chaque sonorité de percussion utilise une note unique. Voice No. 117 118 119 120 121 122 Keyboard Standard Kit 1 Standard Kit 1 Indian Kit Arabic Kit SE Kit 1 SE Kit 2 Note# Note + Chinese Percussion C1 36 C 1 Seq Click H Baya ge Khaligi Clap 1 Cutting Noise 1 Phone Call C#1 37 C# 1Brush Tap Baya ke Arabic Zalgouta Open Cutting Noise 2 Door Squeak D1 38 D 1 Brush Swirl Baya ghe Khaligi Clap 2 Door Slam D#1 39 D# 1Brush Slap Baya ka Arabic Zalgouta Close String Slap Scratch Cut E1 40 E 1 Brush Tap Swirl Tabla na Arabic Hand Clap Scratch F1 41 F 1 Snare Roll Tabla tin Tabel Tak 1 Wind Chime F#1 42 F# 1Castanet Tablabaya dha Sagat 1 Telephone Ring G1 43 G 1 Snare Soft Dhol 1 Open Tabel Dom G#1 44 G# 1Sticks Dhol 1 Slap Sagat 2 A1 45 A 1 Bass Drum Soft Dhol 1 Mute Tabel Tak 2 A#1 46 A# 1 Open Rim Shot Dhol 1 Open Slap Sagat 3 B1 47 B 1 Bass Drum Hard Dhol 1 Roll Riq Tik 3 C2 48 C 2 Bass Drum Dandia Short Riq Tik 2 C#2 49 C# 2 Side Stick Dandia Long Riq Tik Hard 1 D2 50 D 2 Snare Chutki Riq Tik 1 D#2 51 D# 2 Hand Clap Chipri Riq Tik Hard 2 E2 52 E 2 Snare Tight Khanjira Open Riq Tik Hard 3 Flute Key Click Car Engine Ignition F2 53 F 2 Floor Tom L Khanjira Slap Riq Tish Car Tires Squeal F#2 54 F# 2 Hi-Hat Closed Khanjira Mute Riq Snouj 2 Car Passing -
Creative® Sound Blaster® Audiopci TM
® ® TM Creative Sound Blaster AudioPCI 128 MODEL CT5801 Creative’s Industry-Standard 1373-Based Sound Card Delivers High Quality Digital Audio The model CT5801 Sound Blaster® AudioPCITM 128 for Hewlett-Packard, is an outstanding sound card solution that delivers excellent audio quality and features at an affordable price. The Sound Blaster AudioPCI 128 is driven by Creative’s industry-standard ES1373 DSP engine, coupled with AC97 version 2.1 CODEC, providing the next generation of audio performance while maintaining full Sound Blaster 16 legacy compatibility. Audio - Primary Features The Sound Blaster AudioPCI 128 is a complete digital audio recording and playback system, capable of 16- bit/48KHz fidelity. The Sound Blaster AudioPCI 128 delivers 128-voice polyphony for wavetable audio, real- time DSP effects including reverb, chorus and spatialization, plus real-time bass and treble equalization control. In addition, the Sound Blaster AudioPCI 128 supports 3D Positional Audio, Microsoft’s DirectSound, DirectSound 3D, Environmental Audio Extensions (EAX) for DirectSound3D, and support for the Aureal A3D API, which allows applications written to the A3D API to run on the Sound Blaster AudioPCI 128. A stereo 2w/channel amplifier is also included. Compatibility The Sound Blaster AudioPCI 128 is fully Plug and Play compliant for ease of use in either genuine DOS, DOS Box, Windows Millenium, Windows 95/98/98SE, Windows NT, and Windows 2000 applications, and is fully Sound Blaster 16 compatible in MS-DOS utilizing a patented method of Sound Blaster emulation developed by Creative. In addition, the AudioPCI 128 offers full General MIDI capability, and also supports Microsoft’s PC98, PC99, and Multimedia PC Level II and III specifications. -
Foundations for Music-Based Games
Die approbierte Originalversion dieser Diplom-/Masterarbeit ist an der Hauptbibliothek der Technischen Universität Wien aufgestellt (http://www.ub.tuwien.ac.at). The approved original version of this diploma or master thesis is available at the main library of the Vienna University of Technology (http://www.ub.tuwien.ac.at/englweb/). MASTERARBEIT Foundations for Music-Based Games Ausgeführt am Institut für Gestaltungs- und Wirkungsforschung der Technischen Universität Wien unter der Anleitung von Ao.Univ.Prof. Dipl.-Ing. Dr.techn. Peter Purgathofer und Univ.Ass. Dipl.-Ing. Dr.techn. Martin Pichlmair durch Marc-Oliver Marschner Arndtstrasse 60/5a, A-1120 WIEN 01.02.2008 Abstract The goal of this document is to establish a foundation for the creation of music-based computer and video games. The first part is intended to give an overview of sound in video and computer games. It starts with a summary of the history of game sound, beginning with the arguably first documented game, Tennis for Two, and leading up to current developments in the field. Next I present a short introduction to audio, including descriptions of the basic properties of sound waves, as well as of the special characteristics of digital audio. I continue with a presentation of the possibilities of storing digital audio and a summary of the methods used to play back sound with an emphasis on the recreation of realistic environments and the positioning of sound sources in three dimensional space. The chapter is concluded with an overview of possible categorizations of game audio including a method to differentiate between music-based games. -
MP7SE Owner's Manual
Introduction Main Operation EDIT Menu STORE Button & SETUPs Owner’s Manual Recorder USB Menu SYSTEM Menu Appendix Thank you for purchasing this Kawai MP7SE stage piano. This owner’s manual contains important information regarding the instrument’s usage and operation. Please read all chapters carefully, keeping this manual handy for future reference. About this Owner’s Manual Before attempting to play this instrument, please read the Introduction chapter from page 10 of this owner’s manual. This chapter provides a brief explanation of each section of the MP7SE’s control panel, an overview of its various jacks and connectors, and details how the components of the instrument’s sound are structured. The Main Operation chapter (page 20) provides an overview of the instrument’s most commonly used functions, beginning with turning zones on and off, adjusting their volume, and selecting sounds. Later on, this chapter introduces basic sound adjustment using the four control knobs, before examining how reverb, EFX, and amp simulation can all be applied to dramatically change the character of the selected sound. Next, the MP7SE’s authentic Tonewheel Organ mode is outlined, explaining how to adjust drawbar positions using zone faders and control knobs, and change the organ’s percussion characteristics. The chapter closes with an explanation of the instrument’s global EQ and transpose functions. The EDIT Menu chapter (page 38) lists all available INT mode and EXT mode parameters by category for convenient reference. The STORE Button & SETUP Menus chapter (page 64) outlines storing customised sounds, capturing the entire panel configuration as a SETUP, then recalling different SETUPs from the MP7SE’s internal memory. -
Ohjelmallinen Audion Generointi
Cecilia Matilainen OHJELMALLINEN AUDION GENEROINTI Tradenomi Tietojenkäsittely Syksy 2015 TIIVISTELMÄ Tekijä: Cecilia Matilainen Työn nimi: Ohjelmallinen audion generointi Koulutusala: Luonnontieteiden ala, tradenomikoulutus Asiasanat: pelit, peliäänet, audio, peliohjelmointi, äänisynteesi, digitaalinen ääni, digitaaliset signaalit Tässä opinnäytetyössä esitellään vaihtoehtoinen tapa tuottaa pelin audiosisältö eli äänisynteesin käyttäminen äänitiedostojen sijasta. Äänisynteesi on analogisessa muodossaan ollut ainoa tapa tuottaa peliaudiota menneinä vuosikymmeninä. Kun muistia oli erittäin vähän, sisälsivät kotikonsolit ja kolikkopelit rautatasolla äänipiirin, joka huolehti äänisynteesistä ohjelmakoodissa annettujen komentojen mukaisesti. Nykyään kovalevytilan ja keskusmuistin suuri määrä mahdollistavat esiäänitettyjen äänitiedostojen käyttämisen peleissä. Toisaalta, digitaalisten äänitiedostojen koko on edelleen suuri. Prosessorit taas ovat kehittyneet niin tehokkaiksi, että reaaliaikaisen digitaalisen äänisynteesin mahdollisuudet ovat suuremmat kuin koskaan aikaisemmin. Äänisynteesillä pystytään, toteutuksen laadusta riippuen, jopa korvaamaan äänitiedostojen käyttö. Tämän uuden mahdollisuuden haluaa opinnäytetyö nostaa tietoisuuteen. Tutkielmaa voi ehkä pitää jopa haasteena tai provokaationa uuden (vai pitäisikö sanoa unohdetun) taidelajin harjoittamiseen: kuinka hyvä musiikkikappale tai mehukas ääniefekti voidaan aikaansaada pelkästään ohjelmakoodia käyttäen? Tutkielman aihe syntyi sitä kautta, että siinä yhdistyy ohjelmointi, retropelien -
A Guide to Cymbals, Part 4 by Nick Petrella
A Guide to Cymbals, Part 4 by Nick Petrella PLACEMENT The optimum place for cymbals in concert ensembles is either between the snare and bass drum or with the accessories between the snare drum and mallet keyboard instruments. The number of people covering parts and the instrumentation will be the deciding factor. In marching ensembles, the cymbals may be placed anywhere in the pit. Again, the number of people and instrumentation will be the deciding fac- tor. An important sound factor is removing the hand cymbal players from in front of the snare drummers as soon as the cymbal pattern is finished. If not, they will absorb a lot of sound, especially if there are sound scoops on the snare drums. Music and Tray Stand Placement The important consideration with music stand placement is to keep it high enough to see the music and the conduc- tor. Percussionists should place the music stand at an angle so the music is not blown away by the wind produced by playing the hand cymbals. Carpeted tray tables are more versatile than cymbal cradles because they are easy to use and can hold sticks, mallets and small instruments as well as cymbals (Figures 31 and 32). They are inexpensive to make. No noise oc- curs when setting the cymbals down because the straps touch the cymbals. A tiered tray stand works well too as it holds a collection of small instruments, sticks and mallets on stage. Whether a tray table or cymbal cradle is used, it should be placed between the percussionist and the conductor. -
5Th-12Th Grade Concert Percussion Curriculum: a Detailed Guide to Techniques and Resources for Non-Percussionist Music Educators
Eastern Illinois University The Keep Undergraduate Honors Theses Honors College 2018 5th-12th Grade Concert Percussion Curriculum: A Detailed Guide to Techniques and Resources for Non-Percussionist Music Educators Rodney Rote Jr. Follow this and additional works at: https://thekeep.eiu.edu/honors_theses Part of the Curriculum and Instruction Commons, Music Education Commons, and the Music Pedagogy Commons 51h 12th Grade Concert Percussion Curriculum A detailed guide to techniques and resources for non·percussionist music educators. (TITLE) DY Rodney Rote, Jr. ····-----·--·- ·---- --- UNDERGRADUATE THESIS Submitted in partial fulfillment of the requirement for obtaining UNDERGRADUATE DEPARTMENTAL HONORS Departmentof Music along withthe Honors College at EASTERN ILLINOIS UNIVERSITY Charleston, Illinois 2018 YEAR I hereby recommend this thesis to be accepted as fulfilling the thesis requirement for obtaining Undergraduate Departmental Honors I� o.,r��t THESI ADVI 0 _Cti:-�I \� � 1_? _ Daie\··· 5 th - 12 th Grade Concert Percussion Curriculum A detailed guide to techniques and resources for non percussionist music educators. By Rodney Rote, Jr. Index Introduction Forward Page 2 Application Page3 Skill Level Break Down Page4 Chapter1 Page5 Snare Drum Chapter 2 Page12 Keyboard Percussion Chapter 3 Page18 Accessory Percussion Tambourine Page18 Triangle Page 20 Bass Drum Page 21 Cymbals Page 22 Hand Drums Page23 Chapter 4 Page26 Timpani Chapter 5 Page29 Percussion Ensemble Closing Remarks Page 32 1 Introduction Forward Primary and secondary school band directors enrolled in a semester long percussion methods course while pursuing their teaching degree. For most, only a semester of learning about the broad world of percussion is not enough to be as proficient at teaching percussion, unless percussion is their primary instrument.