Music Workshop Q&A for Guitar Episode Grades 3‐5 Note to Music
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Innovation & Inspiration
Lesson: Innovation & Inspiration: The Technology that Made Electrification Possible Overview In this lesson students learn about technological innovations that enabled the development of the electric guitar. Students place guitar innovations on a timeline of technology and draw conclusions about the relationship between broad technological changes and their impact on music. This lesson builds on the Introduction to the Electric Guitar and borrows concepts from history and science. Ages: High School Estimated Time: up to 35 minutes Objectives: Students will be able to… • Identify significant technological changes that led to the development of the electric guitar. • Analyze the extent to which guitar innovators were influenced by changes in technology. Washington EALRs: • Social Studies: 4.1.1, 4.1.2 • Science: 3.2 Materials Provided by EMP • Electric Guitar Technology Timeline • Guitar Innovations handout Materials Provided by Teacher • N/A Playlist • N/A Procedure 1. Tell students they have three minutes to list as many electrical or digital inventions they use on a daily basis as possible. After time is up, have them share what they came up with and list responses on the board. Choose one or two inventions and ask students to brainstorm all the innovations that made that invention possible. How far can they get? Tell students that today they are going to learn the various innovations that went into the modern electric guitar. (10 minutes) 2. Pass out “Electric Guitar Technology Timeline.” Have students quickly scan the inventions and pick out what inventions are familiar and which are new. Based on this list, can students guess how each invention impacted the development of the electric guitar? (up to 10 minutes) 3. -
Patented Electric Guitar Pickups and the Creation of Modern Music Genres
2016] 1007 PATENTED ELECTRIC GUITAR PICKUPS AND THE CREATION OF MODERN MUSIC GENRES Sean M. O’Connor* INTRODUCTION The electric guitar is iconic for rock and roll music. And yet, it also played a defining role in the development of many other twentieth-century musical genres. Jump bands, electric blues and country, rockabilly, pop, and, later, soul, funk, rhythm and blues (“R&B”), and fusion, all were cen- tered in many ways around the distinctive, constantly evolving sound of the electric guitar. Add in the electric bass, which operated with an amplifica- tion model similar to that of the electric guitar, and these two new instru- ments created the tonal and stylistic backbone of the vast majority of twen- tieth-century popular music.1 At the heart of why the electric guitar sounds so different from an acoustic guitar (even when amplified by a microphone) is the “pickup”: a curious bit of very early twentieth-century electromagnetic technology.2 Rather than relying on mechanical vibrations in a wire coil to create an analogous (“analog”) electrical energy wave as employed by the micro- phone, “pickups” used nonmechanical “induction” of fluctuating current in a wire coil resulting from the vibration of a metallic object in the coil’s magnetized field.3 This faint, induced electrical signal could then be sent to an amplifier that would turn it into a much more powerful signal: one that could, for example, drive a loudspeaker. For readers unfamiliar with elec- tromagnetic principles, these concepts will be explained further in Part I below. * Boeing International Professor and Chair, Center for Advanced Studies and Research on Inno- vation Policy (CASRIP), University of Washington School of Law (Seattle); Senior Scholar, Center for the Protection of Intellectual Property (CPIP), George Mason University School of Law. -
Guitar Tunings
Big City String Company Strings ~ Guitar Tunings Guitar: Acoustic Tuning Low 6 5 4 3 2 1 High Classic Mayfield F# A# C# F# A# F# Electric Flamenco Collins F C F Ab C F Steinberger Half Bent F Bb Eb Ab C F Bass Guitar Fourths E A D G C F Banjo Open E E B E G# B E Mandolin Open A E A E A C# E International Nashville e a d G B E Picks High Plain D E A d G B E Accessories Standard E A D G B E Lute E A D F# B E How to Order Hendrix Eb Ab Db Gb Bb Eb Shop Drop D D A D G B E Drop D D A D G B D DADGAD D A D G A D Open D D A D F# A D D Minor D A D F A D D Modal D A D D A D Slack Key G 6 D G D G B E Slide Guitar Open G D G D G B D 7 & 8 String Richards G D G B D More Tunings G Minor D G D G Bb D Capo Reference Cross Harp Guide Cooder Db Ab Db F Ab Db Bass Guitar Kottke C# F# B E G# C# Open C C G C G C E C 6 C G C G A E Kaki King C G D G A D Leadbelly B E A D F# B Baritone B E A D F# B Baritone A D G C E A Big City String Company Strings ~ Tunings Guitar: Acoustic Tuning Low 6 5 4 3 2 1 High Classic Bajo Sexto E A D G C F Electric Flamenco Bandurria G# C# F# B E A Steinberger Banjo G D G B D Bass Guitar Tenor Banjo C G D A Banjo Plectrum Banjo C G B D Mandolin Bouzouki International C F A D Charango G C E A E Picks Cuatro B E A D G Accessories Dobro G B D G B D How to Order Dulcimer G C C C Shop Fiddle G D A E Mandola C G D A Mandolin G D A E Mandolin - Blues E B F# C# Oud G A B E A D Requinto A D G C E A Guitar Tunings Tenor Guitar C G D A Tiple A D F# B Ukulele Big City String Company Strings ~ Slack Key Guitar Tunings Guitar: Acoustic Tuning -
AT AUCTION FEBRUARY 27 Dear Guitar Collector
GUITARS AT AUCTION FEBRUARY 27 Dear Guitar Collector: On this disc are images of the 284 guitars currently in this Auction plus an additional 82 lots of collectible amps, music awards and other related items GUITARS all being sold on Saturday, February 27. The Auction is being divided into three AT AUCTION FEBRUARY 27 sessions starting at 10am, 2pm and 7pm (all East Coast time.) Session I, at 10am, contains the Delaware Collection of instruments and other music-related objects all autographed by well known musicians. Sessions II and III contain an extraordinary array of fine and exciting instruments starting with Lot 200 on this disc. The majority of lots in this Auction are being sold without minimum reserve. AUCTION Saturday, February 27 Session I – 10am: The Delaware Collection Session II – 2pm: Commencing with Lot #200 The event is being held “live” at New York City’s Bohemian National Hall, a great Session III – 7pm: Commencing with Lot #400 setting at 321 East 73rd Street in Manhattan. For those unable to attend in person, PUBLIC PREVIEW February 25 & 26 the event is being conducted on two “bidding platforms”… liveauctioneers. Noon to 8pm (each day) com and invaluable.com. For those who so wish, telephone bidding can easily be arranged by contacting us. All the auction items will be on preview display LOCATION Bohemian National Hall 321 East 73rd Street Thursday and Friday, February 25 and 26, from 12 noon to 8 pm each day. New York, NY Please note that this disc only contains photographic images of the items along ONLINE BIDDING Liveauctioneers.com Invaluable.com with their lot headings. -
Mark Simon's Terraplane Resonator Guitars
Mark Simon's Terraplane Resonator Guitars (index.html) Good Vibrations How Sweet e Sound! Mark Simon and the Terraplane resonator guitar. One hundred years ago, in 1916, the Martin Guitar Company manufactured a new model called a Dreadnought. e most o vious characteristic of the Dreadnought"to this day the most popular acoustic guitar style in America"was its larger ody si$e, meant to help players in their e%orts to e heard amidst the rass and percussive instruments that made up many popular ensem les of the day. Later, in the 1920s, a violin repairman named )ohn Dopyera addressed the pro lem in a di%erent way when he made the *rst resonator guitar for George Beauchamp, a ,audeville lap steel guitar player from Te.as. Rather than rely on the instrument0s wooden top and ody to amplify the sound waves from the strings, Dopyera devised aluminum cones that received the string vi rations through a variety of com inations and con*gurations, producing a sound much louder and righter than that of a traditional acoustic guitar. Dopyera and Beauchamp egan manufacturing tri1cone, metal1 odied 2ational Steel guitars in Los Angeles in 1927. A year later, Dopyera le5 to form his own company with his rothers, naming it Dobro Manufacturing, producing a single, larger resonator cone that sat inverted under a perforated metal cover plate. e Dopyera rothers were a le to eventually com ine oth 2ational and Dobro into one company, while Beauchamp, himself no slouch when it came to innovation, went on to achieve supreme audi ility y developing the *rst electric guitars. -
AT AUCTION FEBRUARY 27 Dear Guitar Collector
GUITARS AT AUCTION FEBRUARY 27 Dear Guitar Collector: On this disc are images of the 284 guitars currently in this Auction plus an additional 82 lots of collectible amps, music awards and other related items GUITARS all being sold on Saturday, February 27. The Auction is being divided into three AT AUCTION FEBRUARY 27 sessions starting at 10am, 2pm and 7pm (all East Coast time.) Session I, at 10am, contains the Delaware Collection of instruments and other music-related objects all autographed by well known musicians. Sessions II and III contain an extraordinary array of fine and exciting instruments starting with Lot 200 on this disc. The majority of lots in this Auction are being sold without minimum reserve. AUCTION Saturday, February 27 Session I – 10am: The Delaware Collection Session II – 2pm: Commencing with Lot #200 The event is being held “live” at New York City’s Bohemian National Hall, a great Session III – 7pm: Commencing with Lot #400 setting at 321 East 73rd Street in Manhattan. For those unable to attend in person, PUBLIC PREVIEW February 25 & 26 the event is being conducted on two “bidding platforms”… liveauctioneers. Noon to 8pm (each day) com and invaluable.com. For those who so wish, telephone bidding can easily be arranged by contacting us. All the auction items will be on preview display LOCATION Bohemian National Hall 321 East 73rd Street Thursday and Friday, February 25 and 26, from 12 noon to 8 pm each day. New York, NY Please note that this disc only contains photographic images of the items along ONLINE BIDDING Liveauctioneers.com Invaluable.com with their lot headings. -
Hear/Say Global Stories of Aging and Connection
global stories of aging and connection hear/say global stories of aging and connection A collaboration between the Global Brain Health Institute and Voice of Witness hear/say Team Cliff Mayotte Jennifer Merrilees Lorina Naci Caroline Prioleau Cynthia Stone Dominic Trépel Erin Vong This volume of hear/say is dedicated to aging storytellers everywhere hear/say, created by members of the Global Brain Health Institute, is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. To view a copy of this license, visit creativecommons. org/licenses/by-nc-nd/4.0 or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA. Cover and book design by Caroline Prioleau Printed by Prepress, Inc. San Francisco 2203 Newcomb Ave San Francisco, CA 94124 prepress.com Available for purchase at norfolkpress.com Printed September 2019 Contents Foreword 8 Nothing Pleased Him 83 Victor Valcour, Executive Director, Global Brain Health Institute Narrated by Luisa Escudero-Coria Interviewed by Stefanie Piña Escudero, Atlantic Fellow Introduction 10 Cliff Mayotte, Education Program Director, Voice of Witness, and the You Kind of Have to Enjoy the Process 95 hear/say team: Jennifer Merrilees, Lorina Naci, Caroline Prioleau, Narrated by Jennifer Yokoyama Cynthia Stone, Dominic Trépel, Erin Vong Interviewed by Rowena Richie, Atlantic Fellow Misery is Optional 15 The Gift of Today 105 Narrated by Helen Rochford-Brennan Narrated by Mary Nardulli Interviewed by Cynthia Stone, documentary filmmaker Interviewed -
Dentro Del Mundo De Taylor Guitars
Vena salvaje Ediciones Limitadas de Otoño de sasafrás negro Modelos de granadillo de la Serie 500 Modelos completamente de koa de la Serie 300 + GS Mini 40 innovaciones de Taylor Motivos para enchufar la guitarra Cuándo cambiar las cuerdas 2 www.taylorguitars.com | caja de nogal injertado, tapa de cedro sentí como si estuviera despidiéndome marca de calidad y vuestros productos guitarra y la llevé a la tienda. Zach miró NÚmeRO 80 OTOÑO DE 2014 y perfiles e incrustaciones de arce. Es de una vieja amiga, después de pasar así lo atestiguan. con atención el mástil y me dijo “yo en tu Cartas una guitarra completa, tiene un aspecto ocho meses juntos, y sentía gran apego Russell Levin lugar quitaría el mástil y lo ajustaría para estupendo, suena maravillosamente bien por esa guitarra. Cuando devolví la gui- Waldorf, Maryland (EUA) que la geometría fuera correcta y, luego, > EN ESTE NÚMERO < Encuéntranos en Facebook. Suscríbete a nuestro canal de YouTube. Síguenos en Twitter: @taylorguitars y me encanta tocarla; estoy satisfecho tarra al road manager, él no tenía ni idea le pondría una cejuela nueva”. Le dije “así al 100 %. Pero la gran sorpresa ha de su existencia. A veces me pregunto que tendré que enviarla a Taylor, ¿no?” y Una novedad bienvenida sido el diapasón de ébano de colores si las cosas habrían sido distintas de Compañera de verdad me respondió “no, yo puedo encargarme Acababa de recibir mi ejemplar de distintos por el cual me decidí después habérmela llevado conmigo a L.A. o si Solía tocar en una banda de de esto”. -
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. -
Dentro Del Mundo De Taylor Guitars
ESCAPARATE DE EDICIÓN LIMITADA 12-Fret completamente de koa GS de nogal/cedro GA de granadillo/cedro Modelos 300 honey sunburst Baritones de granadillo de Tasmania El lado acústico Novedades: Grand Orchestra La púa en llamas de John Petrucci con cutaway + 114ce-N con de Trey Hensley cuerdas de nylon 2 www.taylorguitars.com prendado de una Baby Taylor de koa Me encantaría saber quién de Aprecio por el arte con componentes electrónicos, de los vuestra empresa tuvo la idea original Cartas Mi esposa, mis dos hijos adolescen- que mi vieja Baby Taylor carecía. La de añadir dos cuerdas adicionales a la tes y yo acabamos de regresar al Reino compré impulsivamente y vendí mi vieja guitarra barítono. Unido tras un largo viaje por California Baby Taylor. En enero de este año me Giuseppe Fraschini Cuéntanos tu historia que incluyó San Francisco, Yosemite, enamoré de una preciosa GS Mini Koa- Houston, Texas (EUA) Santa Bárbara, Huntington Beach, Los e; no pude resistirme y me la compré. Escríbenos a: Ángeles, San Diego y varios puntos Tiene un sonido potente y alucinante Nota del editor: Como ya contamos [email protected] intermedios. Cuando regresamos a para su tamaño y se ha convertido en en nuestro reportaje sobre la barítono casa, nos preguntamos: «¿Qué fue lo mi guitarra favorita para tocar en el sofá de 8 cuerdas en el número de Otoño mejor del viaje?». Alguien dijo avistar o mientras veo la televisión desde la de 2009 (núm. 61, «Range Rover»), la años posteriores, ¡y ahora ya lo sé!) ballenas en Monterey. Alguien más, el cama. -
Legendary Guitars & Musical Treasures
LEGENDARY GUITARS & MUSICAL TREASURES DECEMBER 2, 2017 Legendary Guitars & Musical Treasures - Dec 2 1: Les Paul electric guitar signed to Bruce Springsteen USD 5,000 - 7,000 An Epiphone electric guitar signed to Bruce Springsteen, from Les Paul. Serial #9400536. Les respected Bruce and thought he was a "cool dude." The consigner of this item, who worked for Les Paul, had given Bruce an acoustic guitar Les had signed in the 1990s. When Les heard he was on tour a few years later, he signed this guitar to Bruce. Lester William Polsfuss was an inventor and musician. A talented musician as well as inventor, Les Paul is credited with various recording innovations and his skilled guitar playing, however he is probably best known for helping to design the Gibson Les Paul.The consigner of this item worked directly with Les Paul. 2: 1963 Jan & Dean Master Tapes USD 3,000 - 5,000 Two master tracks from the album "Jan & Dean Take Linda Surfin'". Recorded on February 20th, 1963. Track list: "Rhythm of the Rain" and "Mr. Bass Man." Arranged and produced by Jan Berry and supervised by Lou Adler, "Jan & Dean Take Linda Surfin'" is the duo's first Liberty album, and included the usual backup of high quality musicians, giving Jan & Dean ample opportunity for vocal acrobatics and comic antics in "Mr. Bass Man," while their rendition of "Rhythm of the Rain" has a low-key charm that wasn't usually associated with the duo.Jan & Dean were an American rock duo made up of Jan Berry and Dean Torrence. -
The National-Dobro Guitar Company: How the Resonator Guitar Survived the Age of Electric Amplification
The National-Dobro Guitar Company: How The Resonator Guitar Survived The Age of Electric Amplification By Peter T. Veru A Thesis Submitted to The Faculty of the Columbian College of Arts and Sciences of The George Washington University in partial fulfillment of the Partial Requirements for the Degree of Master of Arts August 31, 2009 Thesis Directed by Andrew Zimmerman Professor of History UMI Number: 1465760 Copyright 2009 by Veru, Peter T. All rights reserved INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. ______________________________________________________________ UMI Microform 1465760 Copyright 2009 by ProQuest LLC All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. _______________________________________________________________ ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, MI 48106-1346 Abstract of Thesis National-Dobro Guitar Company: How the Resonator Guitar Survived the Age of Electric Amplification John Dopyera, who was attempting to increase the sonority of the acoustic guitar, invented the resonator guitar in the mid 1920s. Dopyera’s invention was responsible for the single largest leap in volume in guitars since the instrument first appeared some 2000 years ago. The resonator first appeared in Hawaiian music but later spilled into other genres such as blues and country.