What's Inside
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Cowpie Lessons
I. Basic Theory A. Major scale and Intervals COPYRIGHT AND DISCLAIMER The Cowpie Guitar Lessons are Copyright 1995 by Greg Vaughn. Lessons are Written by Greg Vaughn and typeset in BoChord 0.94 which is Copyright 1995 by Harold "Bo" Baur. The material included in this series of lessons is not guaranteed to be correct. It should be considered guidelines used in Western music - Western as in Western Hemisphere, rather than songs of the American West. The "rules" given here were much more strictly adhered to in the period of classical music, however they still serve as useful "rules of thumb" in 20th century music. They are probably true 90% to 95% of the time in Country styles. As you all probably know, music is based on scales. Scales are based on patterns of notes called intervals. Chords are built by playing a combination of notes from a scale. The smallest unit of "distance" between notes is the half-step, By "distance" I mean difference in frequency between notes which relates to a true distance on the fretboard on a guitar. The distance between any two adjacent frets is a half-step. Each note is represented by a letter from A to G. The distance between any two consecutive letters is a whole step - or two half-steps - EXCEPT for the distance between B and C, and E and F which are half-steps. A sharp sign (#) means to play the note one half-step higher than usual and a flat sign (b) means to play the note one half- step lower than usual. -
CITES Musical Instrument Certificates Background Musicians Perform With
CITES Musical Instrument Certificates Background Musicians perform with valuable and culturally significant musical instruments legally crafted decades and even centuries ago. A number of these instruments contain small amounts of ivory, shell, reptile skin, and rosewood or other materials regulated under the Convention on International Trade in Endangered Species of Wild Flora and Fauna (CITES). The international use of musical instruments by musicians and professional and student ensembles is essential to advance diplomacy, spark artistic innovation, and support vital international cultural activity. In partnership with CITES parties and the conservation community, music stakeholders have undertaken efforts to increase compliance with current permit requirements while simultaneously pursuing policy improvements that will alleviate unnecessary burdens. Musical Instrument Certificate Created at CoP16 – A Consolidated Permit At the 16th Conference of the Parties (CoP16), Resolution Conf. 16.8 was adopted on Frequent Cross-Border Non-Commercial Movements of Musical Instruments, creating a multi-use Musical Instrument Certificate. The Musical Instrument Certificate is not an exemption from the permit process. It is a consolidated permit. The MIC streamlines the requirement for obtaining multiple CITES export permits when an instrument contains CITES material and is not exempted from permit requirements by an annotation or a personal effects exemption. Musicians using the MIC apply to their CITES Management Authority for issuance of single permit, which must then be credentialed by CITES enforcement officials at each port through which an instrument travels. Clarifications and Exemptions Approved at CoP17 At the 17th conference of the parties (CoP17), unanimous approval was given to Resolution Conf. 16.8 (Rev. CoP17), which: 1. -
Doo-Wah Riders
DOO-WAH RIDERS KENNY LEE BENSON— VOCALS, ACCORDIAN, KEYBOARD, & HARMONICA When I was in my early 20s I decided to quit playing coun- try music in the beer and honky tonks of New Mexico and study music "seriously." I left Albuquerque and moved to Boston to go to music school. After two semesters I ran out of money and did what came natural... playing country music in beer joints and honky tonks. This time in the Northeast. In spite of playing with some won- derful people and players (including the legendary Sleepy La- Beef), I came to the realization that no matter where I was, I was always playing the "the worst place in town" and decided to get the hell out of Dodge. Torn between moving to Nashville and Los Angeles (I had an "ex" in Texas), I let my record collection decide for me. Emmy- lou Harris, Rodney Crowell, Brian Ahern, Byron Berline, Albert Lee and Chris Hillman were all in California and making the kind of records I wanted to make, so I packed up and moved there. Once again, I went to school and studied arranging and orchestration with Dick Grove in Studio City, California (my cur- rent home). One night after playing music at a friend's house, the guitar player and I stood in the parking lot and talked about country music until the wee hours of the morning. We found that we had a mutual passion for Bob Wills, Asleep at the Wheel, Guy Clark and, of course, Emmylou Harris; we decided that we should put a band together just for "laughs." Little did I know that the band would become a major part of my life and that I'd still be working with Lindy Rasmusson 30 years later! . -
Die Welt Der Taylor Gitarren
Wilder Charakter Blackheart Sassafras Herbst-LTDs Blackwood 500er Voll-Koa 300er & GS Mini 40 Taylor-Innovationen Warum man mit Verstärker spielen sollte Zeit für einen Saitenwechsel 2 www.taylorguitars.com | Sommerausgabe]. Ich war von 1984 12 hatte ich mal Klavierunterricht gehabt, sofort, dass sich die Basswiedergabe AUSGABE 80 herbst 2014 bis 1988 der Fahrer von Prince. Auch aber als ich die Mädchen entdeckte, war der A- und E-Saite massiv verschlechtert Leserbriefe auf der Purple Rain-Tour war ich dabei. es mit meiner angehenden Musikkarriere hatte. Ich war niedergeschmettert. Die Mir wurde ein umgebauter schwarzer am Ende. Ein langjähriger Freund vom Gitarre klang nicht mehr wie eine Taylor. > IN DIESER AUSGABE < Besuchen Sie uns auf Facebook. Abonnieren Sie uns auf YouTube. Folgen Sie uns auf Twitter: @taylorguitars Transporter zugeteilt, um Prince zu Hot Licks Guitar Shop verkauft Taylor- Außerdem war nicht mehr viel vom Steg den klanglichen Verbesserungen, von fahren. Als ich mir den Wagen ansah, Gitarren. Er war überzeugt davon, dass übrig, und die Justierung hatte einen den strahlenden Höhen bis zu den stieß ich auf einen Gitarrenkoffer. Ich ich noch was lernen kann. Also kaufte dämpfenden Effekt auf das Sustain der tiefen, artikulierten Bässen, rockt es spiele selbst Gitarre, weshalb ich ich eine 518e, und ich liebe ihren Klang. tiefen E-Saite. Es fehlten die starken mit dieser Gitarre viel besser, und ich neugierig war. Ich sah an der Seite Inzwischen sieht mein Zuhause aus wie Bass-Schwingungen, die ich zu hören muss sie nicht missbrauchen, um die den Taylor-Schriftzug, aber ich muss eine Taylor-Ausstellung. Jedes Modell ist und fühlen gewöhnt war. -
Ibanez Market Strategy
Ibanez Market Strategy Billy Heany, Jason Li, Hyun Park, Alena Noson Strategic Marketing Table of Contents Executive Summary ....................................................................................................................................... 3 Firm Analysis.................................................................................................................................................... 4 Key Information about the Firm ........................................................................................................... 4 Current Goals and Objectives ................................................................................................................ 5 Current Performance ................................................................................................................................. 6 SWOT ............................................................................................................................................................. 7 Current Life Cycle Stage for the Product .......................................................................................... 8 Current Branding Strategy ...................................................................................................................... 9 Industry Analysis .......................................................................................................................................... 10 Market Review ........................................................................................................................................ -
2018 Us Price List & Specifications
2018 US PRICE LIST & SPECIFICATIONS Effective January 1, 2018 taylorguitars.com Contents Models by Series / Pricing 4 Custom Program 8 Dimensions by Shape 9 Standard Model Options 10 Specifications 11 The majority of Taylor’s acoustic guitars are offered in three model variations: • Cutaway body with onboard electronics (e.g., 516ce) A Guide to Taylor • Non-cutaway body with onboard electronics (e.g., 516e) • Non-cutaway body with no onboard electronics (e.g., 516) Acoustic Model Most models are organized by series, featuring the 100 through 900 Series along with our Academy, Numbers Presentation (PS) and Koa (K) Series. Here’s how our numbering system works: The first digit (or letter) identifies the Series. Most guitar models within each series share the same back and side woods and appointment package. The second digit designates two things: first, whether the guitar is a 6-string or a 12-string, and second, whether the top features a softwood like spruce or cedar, or a hardwood like mahogany or koa. The middle number “1” or “2” designates a 6-string guitar with a softwood (1) or hardwood (2) top. For example: 516ce = 6-string with a spruce top 526ce = 6-string with a mahogany top The middle number “5” or “6” designates a 12-string guitar with either a soft (5) or hardwood (6) top. 516ce In this case: 552ce = 12-string with a cedar top 562ce = 12-string with a mahogany top Taylor nylon-string models are integrated into various series and are designated by the letter “N” at the end of the model name. -
Inside the World of Taylor Guitars / Volume 85 Summer 2016
The Taylor Neck Anatomy of a pitch-perfect design Rosewood Revisited The redesigned 700 Series Doobie Brother Pat Simmons Acoustic fingerstyle meets classic rock Dynamic Dreadnoughts 7 must-play models Baritone Basics Expand your musical palette 2 www.taylorguitars.com | dreamed of being involved with forest home I like to play and write with 11s. VOLUME 85 SUMMER 2016 development/management in the way So my answer? Buy another Taylor! I’m Full Recovery Taylor Guitars has been. thinking a new 710e or maybe even Letters The attached photo is of my 2014 First Edition 810e, just as it was Your response to Mr. McKee’s 810e... I’m a sucker for a dreadnought found, 13 days after our home was burglarized and it was stolen. I live in > CONTENTS < Find us on Facebook. Subscribe on YouTube. Follow us on Twitter: @taylorguitars inquiries re-affirmed everything I’ve and love the rosewood/spruce combo. Concord, Vermont, way up in the northeast corner of our state and just ever believed about our inherent I’m very excited for my next purchase! across the Connecticut River from Littleton, New Hampshire. Northern responsibility for good stewardship of Keep making these amazing instru- Lights Music in Littleton is where I fell in love with this guitar and purchased these precious natural resources. Good ments — I’m a fan and Taylor emissary it. Dan and Moocho Salomon at Northern Lights were phenomenal, as stewardship does not mean we — as for life. always, and their beautiful shop is a perfect place for a guitar nut to get lost the human beings whose lives and Kirk O’Brien FEATURES COLUMNS in. -
UPD Investigates Hazing
SERVING SAN JOSE STATE UNIVERSITY SINCE 1934 SPA TAN DAILY WWW.THESPARTANDAII,Y.COM VOLUME 122, NUMBER 61 WEDNESDAY, MAY 5, 2004 Beloved alum UPD investigates hazing hospitalized By Tony Burchyns and brawl that resulted in the death of one 33 cm. on April 21, when University legs, and was eventually treated at by student, the Pi Alpha Phi fraternity Police officers responded to Royce Hall Valley Medical Center, the document Maria Villalobos or what's left of it is once again on "medical aid to assist a resident states. Daily Managing Editor and under the gun. This time, the issue is who "was apparently intoxicated and The press release goes on to state, Daily Staff Writer hazing, and according to some wit- unconscious, according to a recent 'Other witnesses at the scene said it drunk driver nesses, members of the now-unofficial UPD press release. was rumored that (the student) was More than a year after its indefinite fraternity were involved. The student had abrasions and suspension for its part in an off-campus The investigation started at 12: swelling on his torso, face, arms and SJSU graduate in serious condition see HAZING, page 4 after being knocked off her bike swim team, the Mountain View flea market By Daniel DeBolt Array of goods found at local Daily Stall Writer Masters. They were visiting Liu's Mother in Santa Rosa at the time A trust fund has been set up of the accident. for Jill Mason, a San Jose State "I saw her in January, and she was talking about how she was fir liganiE1111111111111111E. -
Roland White Band
The Roland White Band Roland White Bluegrass mandolin master Roland White has played in some of the most influential and popular groups in the music's history, and has played a notable part in creating that history. Springing from a large family of musicians, Roland and his younger brothers Eric and Clarence first played together as youngsters in their native Maine. Moving to southern California in 1955, The Country Boys (later to become The Kentucky Colonels) won talent contests, appeared on local television shows and even landed appearances on The Andy Griffith Show. They toured the country during the folk music boom of the early 60's, creating a sensation among coffeehouse, festival and college audiences with their instrumental virtuosity, traditional brother vocal harmonies and rhythmic innovations. The Kentucky Colonels' influence far exceeded the band's short tenure as an active band. Their "Appalachian Swing" album remains one of the most important albums of that era, a landmark in the history of bluegrass. Moving from The Kentucky Colonels into a position as guitarist for Bill Monroe in the late 60's, Roland absorbed the traditional feel and repertoire from his mentor, the Father Of Bluegrass, which remains a strong element in his music today. From Monroe's band, Roland joined that of another bluegrass pioneer, Lester Flatt, playing mandolin and recording several albums as a member of The Nashville Grass from 1969-1973. In 1973 a short-lived reunion of The White Brothers was brought to an untimely end due to Clarence White's tragic death. Of this brief reunion came two concert recordings that capture the excitement of the White Brothers' sound fully matured, after Clarence's excursions in country rock with the Byrds and Roland's studies with the Monroe and Flatt. -
Aug-Sept 2019
The A publication by the Southwest Bluegrass Association SWBA BOARD OF DIRECTORS The Bluegrass Soundboard STAFF President Vice-President Terry Brewer Marc Nelissen Managing Editor Terry Brewer 661-364-9321 909 289 8730 661-364-9321 [email protected] [email protected] [email protected] Associate Editors Treasurer Secretary Sheila Brewer, Mark Shutts Paula De Bie Missy Lyn Gibson 951-934-3478 774-248-4128 Regular Contributors [email protected] [email protected] Eric Nordbeck,Terry Brewer, Jeanie Stanley, Membership Connie Tripp Bert Luontela. Chris Jones, Wayne Erbsen Sheila Brewer 661-305-1554 Distribution 661-364-9321 [email protected] Flo DeBie, Tom & Carol Lister, Frank & Patsy Abrahams, [email protected] Susan Brown, Dale & Cindie Linton, Ella Carter, Paula DeBie Tony Pritchett Paul Haas 661-305-7866 [email protected] The Bluegrass Soundboard Deadlines [email protected] DECEMBER JANUARY issue November 1st Louie De Bie 951-934-3478 [email protected] FEBRUARY /MARCH issue January 1st APRIL MAY issue March 1st COMMITTEE CHAIRPERSONS JUNE JULY issue May 1st AUGUST SEPTEMBER issue July 1st OCTOBER NOVEMBER issue September 1st Soundboard & Web manger Social Media Terry Brewer Terry Brewer ADVERTISING RATES Missy Lyn Gibson Single Issue Yearly SWBA Host Julie Ann Evans Full page $65 $350 Sheila Brewer Half page $35 $190 Quarter page $25 $130 SWBA Jam Host Advertising $10 $60 Howard Doering Missy Lyn Gibson Card size Marc Nelisse Martha Hall Foe more information concerning advertising Mark Shutts (including special rates and discounts) Contact Terry Brewer René Baquet Campout Host 661-364-9321 [email protected] SWBA School Program Paula De Bie SWBA Membership For member information, change of address, phone and emails. -
Need Christmas Presents? We’Ve Got You Covered!
Return Service Requested NON-PROFIT ORGANIZATION U.S. POSTAGE PAID PO Box 21748 Juneau, AK Juneau, AK 99802-1748 Permit #194 www.akfolkfest.org November 2014 Newsletter 41st Annual Alaska Folk Festival April 6-12, 2015 Need Christmas Presents? We’ve Got You Covered! e have reordered some of last year’s W amazing festival merchandise. Our merchandise last year sold like hot-cakes and we’ve heard from a lot of members that they wish they could still get their hands on the 40th festival items. You can find our festival merchandise at the gift store at the JACC year-round and we’ve got an extra large stock on hand for this year’s Public Market on November 28th,29th, & 30th. And for the first time ever we will have a pop-up store for Gallery Walk! The Senate Building, 2nd floor (where the fly fishing shop used to be) will be hosting the Alaska Folk Festival as part of this year’s December First Friday event, also known as Gallery Walk, on December 5th from 4:00 - 7:30pm. Come chat with board members, pick up some beautiful merchandise, and sign up for, or renew your membership. Merchandise is one of the primary ways that the festival gen- erates funds and we greatly appreciate your support, and we LOVE seeing those folk fest hoodies around town. The 2015 AFF Guest Artist: The Byron Berline Band he Alaska Folk Festival is thrilled to have the Byron Year.' As one of the world’s premier fiddle players, Berline T Berline Band as our 2015 guest artist. -
GRAM PARSONS LYRICS Compiled by Robin Dunn & Chrissie Van Varik
GRAM PARSONS LYRICS Compiled by Robin Dunn & Chrissie van Varik. As performed in principal recordings (or demos) by or with Gram Parsons or, in the case of Gram Parsons compositions, performed by others. Gram often varied, adapted or altered the lyrics to non-Parsons compositions; those listed here are as sung by him. Gram’s birth name was Ingram Cecil Connor III. However, ‘Gram Parsons’ is used throughout this document. Following his father’s suicide, Gram’s mother Avis subsequently married Robert Parsons, whose surname Gram adopted. Born Ingram Cecil Connor III, 5th November 1946 - 19th September 1973 and credited as being the founder of modern ‘country-rock’, Gram Parsons was hugely influenced by The Everly Brothers and included a number of their songs in his live and recorded repertoire – most famously ‘Love Hurts’, a truly wonderful rendition with a young Emmylou Harris. He also recorded ‘Brand New Heartache’ and ‘Sleepless Nights’ – also the title of a posthumous album – and very early, in 1967, ‘When Will I Be Loved’. Many would attest that ‘country-rock’ kicked off with The Everly Brothers, and in the late sixties the album Roots was a key and acknowledged influence, but that is not to deny Parsons huge role in developing it. Gram Parsons is best known for his work within the country genre but he also mixed blues, folk, and rock to create what he called “Cosmic American Music”. While he was alive, Gram Parsons was a cult figure that never sold many records but influenced countless fellow musicians, from the Rolling Stones to The Byrds.