Ludwig-Musser 2010 Concert Percussion Catalog AV8084 2010
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Developing a Four-Mallet Marimba Technique Featuring the Alternation
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Developing a four-mallet marimba technique featuring the alternation of mallets in each hand for linear passages and the application of this technique to transcriptions of selected keyboard works by J.S. Bach Thomas Allen Zirkle Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Zirkle, Thomas Allen, "Developing a four-mallet marimba technique featuring the alternation of mallets in each hand for linear passages and the application of this technique to transcriptions of selected keyboard works by J.S. Bach" (2003). LSU Doctoral Dissertations. 3099. https://digitalcommons.lsu.edu/gradschool_dissertations/3099 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. DEVELOPING A FOUR-MALLET MARIMBA TECHNIQUE FEATURING THE ALTERNATION OF MALLETS IN EACH HAND FOR LINEAR PASSAGES AND THE APPLICATION OF THIS TECHNIQUE TO TRANSCRIPTIONS OF SELECTED KEYBOARD WORKS BY J.S. BACH A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The Department of Music by Thomas Allen Zirkle B.S., Ball State University, 1993 M.M., Southern Illinois University, 1995 December 2003 Dedication This paper is dedicated to Dr. -
PASIC 2010 Program
201 PASIC November 10–13 • Indianapolis, IN PROGRAM PAS President’s Welcome 4 Special Thanks 6 Area Map and Restaurant Guide 8 Convention Center Map 10 Exhibitors by Name 12 Exhibit Hall Map 13 Exhibitors by Category 14 Exhibitor Company Descriptions 18 Artist Sponsors 34 Wednesday, November 10 Schedule of Events 42 Thursday, November 11 Schedule of Events 44 Friday, November 12 Schedule of Events 48 Saturday, November 13 Schedule of Events 52 Artists and Clinicians Bios 56 History of the Percussive Arts Society 90 PAS 2010 Awards 94 PASIC 2010 Advertisers 96 PAS President’s Welcome elcome 2010). On Friday (November 12, 2010) at Ten Drum Art Percussion Group from Wback to 1 P.M., Richard Cooke will lead a presen- Taiwan. This short presentation cer- Indianapolis tation on the acquisition and restora- emony provides us with an opportu- and our 35th tion of “Old Granddad,” Lou Harrison’s nity to honor and appreciate the hard Percussive unique gamelan that will include a short working people in our Society. Arts Society performance of this remarkable instru- This year’s PAS Hall of Fame recipi- International ment now on display in the plaza. Then, ents, Stanley Leonard, Walter Rosen- Convention! on Saturday (November 13, 2010) at berger and Jack DeJohnette will be We can now 1 P.M., PAS Historian James Strain will inducted on Friday evening at our Hall call Indy our home as we have dig into the PAS instrument collection of Fame Celebration. How exciting to settled nicely into our museum, office and showcase several rare and special add these great musicians to our very and convention space. -
THE INTERNATIONAL MAGAZINE of the AVEDIS ZILDJIAN COMPANY Welcome To
ZL326 THE INTERNATIONAL MAGAZINE OF THE AVEDIS ZILDJIAN COMPANY welcome to Z Time2011 edition issue 33 2011 Z Time Page two News & Events Page six Greatest Cymbal of All Time Page ten Legends Page fourteen Gen 16 Craigie Zildjian Page sixteen On the Road Page twenty Moving Forward Product Info Intro There are so many exciting new things going on here at Zildjian that I couldn’t wait to share this year’s Z-Time with you. 2011 represents our breakthrough into the digital Page twenty-one music making realm. Our new Gen16 product line is the result of our effort to bring our Cast Cymbals knowledge of cymbals and their sounds to the modern digital environment. You can learn more about this initiative on pages 14 and 15 or at our new website www.zildjian.com. Page fifty-five Sheet Cymbals Whether your music making is acoustic, digital, or both, our desire is to be there no matter where your music takes you. I sincerely hope you enjoy the journey. Page sixty-one Drumsticks Best regards, Page sixty-five Gear Page sixty-eight Scrapbook Craigie & Debbie Zildjian Contributing photographers: Sayre Berman Hadas Naoju Nakamura John Stephens cover artist: Volker Beushausen Heinz Kronberger Kacper Diana Nitschke Levi Tecofsky Dominic Howard - Joris Bulckens Kaminski Jimmy Katz Mario Pires Melissa Terry Muse Tina Korhonen Bernard Rosenberg Andreas Ulvo James Cumpsty photo: Calum Doris Scott Legato Tao Ruspoli JonVanDaal Richard Ecclestone Robert Downs Hyejin, Lee Bianca Scharroo Neil Zlozower Sergey Dudin H.J Lee Ronny Sequeira Ludwig Drums graphic designer: M.v.d. -
Cathedral Chimestm
32 Cathedral ChimesTM A fresh approach to organ chimes Patented striker design is quiet, efficient, and virtually maintenance free. Dampers lift off tubes for as long as a key is held. Solid state relay with fixed strike pulse timing is included. Very easy to install in most organs. Custom keying cables are available to further simplify installation. Beautiful brushed brass tubes or aluminum chime bars. Also available as an “action only” for use with older chime tubes. Some years ago, Peterson set out to see what could Beautiful satin-finished brass chime tubes or silver be done to modernize and improve the traditional colored anodized aluminum bars are precision tuned tubular chimes that have been part of fine organs for with Peterson stroboscopic tuning instruments and decades. It was quickly realized that chimes and chime engineered for optimal harmonic development. A actions were still being made the same way they had Peterson chime rail and relay may also be provided been made 40 years earlier. They still had the same as an “action only” to replace an old, defective action problems with imprecise tuning; uneven and difficult to while utilizing original tubes having diameters up to adjust actions; heavy and hard-to-install cables; sparking 1-1/2 inches. contacts; and a host of other pitfalls all too well known The Cathedral Chimes system’s easy connection to organbuilders and service technicians. A subsequent to almost any pipe organ requires only a small cable, two-year development program was begun to address making it practical to display chimes and to better and overcome these concerns, and ultimately the TM capitalize on their beautiful appearance. -
The Largely Unsung History of Malta's Bells
14 Baroque Routes - 2014 / 15 The Largely Unsung History of Malta’s Bells By Noel Grima It was a lecture but then it was also an object fixed beam and are rung by moving the clapper lesson. as is typical in southern Sicily from where the tradition seems to have curiously derived. As the audience settled down to listen to the lecture on the bells of Malta in the hall that The more prevalent type of ringing in western forms part of the Birkirkara Collegiate Church, Europe is the swinging method which means the sonorous Birkirkara bells on top of us the bell is fixed to a beam which rotates on its began to solemnly peal the traditional ‘Mota tal- axle thus the actual bell is swung on its fittings Hamis’ which can be heard at around 7pm on hitting its clapper freely to produce a particular Thursdays in the mostly traditionalist parishes, sound effect. Malta can only boast of four along with the tolling of bells at three pm on swinging bells one of which is ironically the Fridays to commemorate the Last Supper and largest bell in Malta. Another three are to be the death of Christ respectively. found on Gozo. The International Institute for Baroque Studies The oldest bell in Malta was cast in Venice at the University of Malta held a public lecture in 1370 and until a few years ago it was still on ‘Maltese Bells and Bell Ringing in the in service at Mdina Cathedral. The bell was Baroque Age’ delivered by Kenneth Cauchi. -
Ludwig-Musser 2012 Concert Percussion Catalog AV8084 2012
T IMPANI AND C ON C ER T D RUMS P.O. Box 310 Elkhart, Indiana 46515-0310 U.S.A. www.ludwig-drums.com Ludwig products are available for sale through authorized Ludwig dealers. This catalog is intended as a source of general information only. Possession of this catalog does not constitute a contract, agreement or an offer to sell our products. Ludwig reserves the right to change prices or product specifications without prior notice. ©2005 Conn-Selmer, Inc. A division of Steinway Musical Instruments, Inc. P.O. Box 310, Elkhart, IN 46515 www.conn-selmer.com AV8084-1 As timpanist of the Pittsburgh Symphony, William F. Ludwig, Sr. shared a love for the classical works that was Not surprisingly, Ludwig’s earliest designs and models failed. Hydraulically operated hoses leaked. Cables stretched. But only equaled by his passion to perform them on-stage. Whether playing before a sold out symphony hall – or one he was determined and never lost heart – perfecting the music was far too important to him. Then, in 1921, after years nearly empty – Ludwig performed every note as if it were his final heartbeat. of disappointments, he struck perfection. The Balanced Action™ model he developed back then remains to this day the standard in timpani design and sound quality held around the world. You need only to hear the difference in a Ludwig In 1909, Ludwig, being the purist he was, grew rather frustrated when the hand-tuned timpani of the day made it Timpani to judge for yourself. Ludwig’s Timpani embody the heart and soul of everyone who plays or dedicates their lives difficult to play Wagnerian parts to his liking. -
Percussion Repertoire
1 Percussion Repertoire Compiled by Colby Snider from the lists of Dr. Julie Hill, Dr. Josh Smith, and Professor James Campbell Instrument Key Difficulty Key Concert CSD 1 and 2 Beginner Snare Drum DS Drumset 3 Beginner - Intermediate Drumset DSC 4 Intermediate Combo General GP 5 Intermediate - Advanced Percussion M Marimba 6 Advanced Marimba and MF 7 Extremely Advanced Flute Multi MP N/A Not Applicable Percussion Marimba and Various - Applies to MTU V Tuba collections of pieces. Rudimental RSD MB Method Book Snare Drum SD Snare Drum T Timpani V Vibraphone World WP Percussion XY Xylophone 2 Composer Title Instrument Difficulty A Dream of the Cherry 5 Blossoms Frogs 3 Itsuki Fantasy for Six 7 Mallets Little Windows 4 Kazak Lullaby 5 Abe, Keiko Marimba D'Amore M 6 Michi 5 Prism 4 Prism Rhapsody 6 Variations on Japanese 5 Children's Songs Wind in the Bamboo Grove 5 Aiello, Joseph Classic African T 4 Airto The Spirit of Percussion GP MB From My Little Island 5 Aldridge, Robert M Zoo Animals 6 Advanced Etudes for Snare Aleao, Keith CSD V Drum Alfieri, John Pereginations MP 5 Andriessen, Louis Woodpecker M 6 Appice, Carmen Realistic Rock DS MB Asia, Daniel Marimba Music M 5 B Bach, C.P.E. Solfeggietto M 3 3 Cello Suite No. 1 in G Major 4 Cello Suite No. 2 in D Minor 5 Cello Suite No. 3 in C Major 4 Partita No. 1 4 Partita No. 3 4 Bach, J.S. Prelude in Bb Major M 4 Prelude to Suite No. 1 for 3 Cello Sonata No. -
Acknowledgments
ACKNOWLEDGMENTS I would like to acknowledge and express my sincerest thanks to the many people without whom the completion ofthis document would have been impossible: My wife, Amy, whose patience, support, and encouragement was unending, and whose proofreading, word processing, and taping skills were invaluable. My children, Charlie, Will, and Mary Emma, for willingly giving up many, many hours of "quality time" with their dad, which rightfully belonged to them. Professor Richard Blatti of The Ohio State University for his priceless knowledge of the wind-band repertoire, and for the guidance, suggestions, and time (of which he has very little) he was willing to give me and this project. Dr. James L. Moore, for his kindness, support, and willingness to proofread parts of this document, and for donating valuable materials from his own research which concerned this topic. Dr. A Peter Costanza, for his willingness to proofread parts of this document during a time in which he could have devoted all available time and energy into overseeing the 1995 OMEA State Convention. Craig Young, for the many times he helped me find what I needed in the OSU Band Music Library. Professor H. Robert Reynolds of the University of Michigan, for making that university's band music library available to me, and to Ms. Maggie St. Clair and Mr. Bill Kellerman for their wonderful hospitality and professionalism in assisting me while on campus. The many percussionists and conductors who responded to my surveys, submitting valuable suggestions ofpieces which represented the core ofmy research. My father-in-law, Dr. L. R. -
Legacy Exotic Black Limba Oliveburst 14X26” Bass Drum, Classic Lugs
Cover Photo By Austin Swift Legacy Exotic Black Limba Oliveburst Courtesy of Ludwig Artist Al Wilson [Taylor Swift] 14x26” Bass Drum, Classic Lugs, Elite Spurs, No Mount [LLB446XXL4WC] 16x18” Floor Tom, Classic Lugs, Keystone Brackets [LLF468LXL4WC] 16x16” Floor Tom, Classic Lugs, Keystone Brackets [LLF466LXL4WC] 9x13" Tom, Vibraband with Keystone Bracket [LLT493XXL4WCR] 6.5x14" Snare, Millennium Strainer, Tube lugs [LLS464TDL4WM] 14x26” 9x13” 16x16” 6.5x14” 16x18” ©2011 Conn-Selmer, Inc. All models, pricing and specifications are subject to change without notice. All rights reserved. Reproduction, of whole or in part, of this catalog, or its contents, is strictly prohibited without prior expressed written permission of Conn-Selmer, Inc.Conn-Selmer is a division of Steinway Musical Instruments, Inc. (NYSE: LVB) AV8147 oin the Family J Looking back at over a century of Ludwig Percussion, the word “Family” continues to find its way into how we define what we are as a company. It’s certainly no secret that we bolster a rich history, originated by William F. and Theobald Ludwig in 1909. These pioneers laid a solid foundation of drummers and percussionists creating instruments for the needs of generations of players. That tradition continued with William F. Ludwig II (or “The Chief” as he has come to be known). The Chief’s dedication to the Ludwig Legacy went way beyond his name. It was his dedication to everyone from the craftsmen at the Ludwig factory, to the drummers who played his creations that established the feeling of a true Family. From Damen Avenue in Chicago to our current facility in Monroe, NC., The Ludwig Family continues on in its founders’ tradition as a notable American manufacturer. -
Extended Performance Techniques and Compositional Style in the Solo
EXTENDED PERFORMANCE TECHNIQUES AND COMPOSITIONAL STYLE IN THE SOLO CONCERT VIBRAPHONE MUSIC OF CHRISTOPHER DEANE Joshua D. Smith, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2008 APPROVED: Mark Ford, Major Professor Eugene Migliaro Corporon, Minor Professor Christopher Deane, Committee Member Terri Sundberg, Chair of the Division of Instrumental Studies Graham Phipps, Director of Graduate Studies in the College of Music James C. Scott, Dean of College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Smith, Joshua D., Extended performance techniques and compositional style in the solo concert vibraphone music of Christopher Deane. Doctor of Musical Arts (Performance), August 2008, 66 pp., 1 table, 8 figures, 20 musical examples, references, 29 titles. Vibraphone performance continues to be an expanding field of music. Earliest accounts of the presence of the vibraphone and vibraphone players can be found in American Vaudeville from the early 1900s; then found shortly thereafter in jazz bands as early as the 1930s, and on the classical concert stage beginning in 1949. Three Pieces for Vibraphone, Opus 27, composed by James Beale in 1959, is the first solo concert piece written exclusively for the instrument. Since 1959, there have been over 690 pieces written for solo concert vibraphone, which stands as evidence of the popularity of both the instrument and the genre of solo concert literature. Christopher Deane has contributed to solo vibraphone repertoire with works that are regarded as staples in the genre. Deane’s compositions for vibraphone consistently expand the technical and musical potential of the instrument. -
Indoor Percussion Invitational
Zionsville Community High School Indoor Percussion Invitational March 10, 2018 $@DI@:88IG<EK<I KN<EKPP<8I 4@FEJM@CC<I<J@;<EKJ FG<E<;K?<;FFIJ8K =@M<K?@IKP?FD<@E FD9@E@E>$@DJ NFF;NFIB@E><OG<I@<E:<8E;I@:8JCFM<F= G8@EK@E>=LIE@KLI< K?<P:FCC89FI8K<KF 9I@E>LE@HL<=LIE@KLI<N@K?9<8LK@=LC =@E@J?<JKFK?<JKFI<CF:8K<;8K(FIK? '8@E-KI<<K FE4@FEJM@CC<J?@JKFI@:9I@:B JKI<<K 1?8K<CJ<N@CCPFL=@E;@EJ@;< "FD<;<:FI #E;@8E8:I8=K<;:8E;C<J N8CC ?8E>@E>J J8CM8><;G@<:<J E8LK@:8C@K<DJ 8E;DL:?DFI< 1<K<8:?'@JJ'LJK8I;-<<;¶J'@CB*8@EK NFIBJ?FGJN?<I<PFLN@CCC<8IEK?< GIFG<ID<K?F;JF=D@O@E> 8GGCP@E> 8E; =@E@J?@E>D@CBG8@EK 8JG<:@8CKP =LIE@KLI<G8@EK 1<=FID8KFLI:C8JJ<JKF @E:CL;<8CCK?<98J@:D@CBG8@EK @E=FID8K@FE8CFE>N@K?FLI:LJKFDK@GJ KI@:BJ8E;K<:?E@HL<JLJ<;KF=@E@J?K?< G@<:<J@EFLIJKFI< = 1<?FG<KFJ<<PFLJFFE@EFE<F=FLI'@JJ 'LJK8I;-<<;¶J'@CB*8@EK:C8JJ<J =@M<K?@IKP?FD<@J8E<:C<:K@:D@OF= =LIE@J?@E>J8E;;<:FI IFDK?<:LIM<; C@E<JF=8 I<E:?JKPC<:?<JKKF8ILJK@: 8><;GFKK@E>9<E:? N<?8M<8C@KKC<JFD<Ǧ K?@E>=FI<M<IPFE< (<<;8K89C< 9L==<KFI 9FFBJ?<C=?8E:<J8I< @=N<;FEK?8M< FE<@EK?<JKFI<8CI<8;P N<:8EKI8:B JFD<K?@E>;FNELJ@E>K?<@E=FID8K@FE GIFM@;<;9PPFL@EFLIN@J?C@JK9FFB -KFG@EKF;8P ͖͔Ǥǡȁ͕͗͛Ǧ͙͚͛Ǧ͕͛͛͜ȁǦ͕͔Ǧ͙ǡ͕͖Ǧ͘ȁƤǤ Welcome to the ZCHS Percussion Invitational />Liv ÌiÌà 7iVivÀÌ i*č*ÀiÃ`ḭ°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°4 / i`>>*iÀVÕÃÃčÃÃV>Ì* ë Þ°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°È *č >À`v ÀiVÌÀà °°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°° 8 7iVivÀÌ i<ÃÛi ÌiÃÌ À`>ÌÀ°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°10 <ÃÛi >` ÃÌiÀ >À`°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°°10 -
Bellfounders.Pdf
| ============================================================== | ============================================================== | | | | | | TERMS OF USE | | | | | CARILLONS OF THE WORLD | The PDF files which constitute the online edition of this | | --------- -- --- ----- | publication are subject to the following terms of use: | | | (1) Only the copy of each file which is resident on the | | | GCNA Website is sharable. That copy is subject to revision | | Privately published on behalf of the | at any time without prior notice to anyone. | | World Carillon Federation and its member societies | (2) A visitor to the GCNA Website may download any of the | | | available PDF files to that individual's personal computer | | by | via a Web browser solely for viewing and optionally for | | | printing at most one copy of each page. | | Carl Scott Zimmerman | (3) A file copy so downloaded may not be further repro- | | Chairman of the former | duced or distributed in any manner, except as incidental to | | Special Committee on Tower and Carillon Statistics, | the course of regularly scheduled backups of the disk on | | The Guild of Carillonneurs in North America | which it temporarily resides. In particular, it may not be | | | subject to file sharing over a network. | | ------------------------------------------------------- | (4) A print copy so made may not be further reproduced. | | | | | Online Edition (a set of Portable Document Format files) | | | | CONTENTS | | Copyright November 2007 by Carl Scott Zimmerman | | | | The main purpose of this publication is to identify and | | All rights reserved. No part of this publication may | describe all of the traditional carillons in the world. But | | be reproduced, stored in a retrieval system, or trans- | it also covers electrified carillons, chimes, rings, zvons | | mitted, in any form other than its original, or by any | and other instruments or collections of 8 or more tower bells | | means (electronic, photographic, xerographic, recording | (even if not in a tower), and other significant tower bells.