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Quickstart Guide EN
Quickstart Guide EN Hello! Contents IMPORTANT SAFETY INSTRUCTIONS . 4 Important Information . 5. Assembling . 6 Packing List . .6 . Assembly . 7 Attaching the Beater Patch . 9 Tuning the Head Tension . 9 Connection . 10 Basic Operation . 12 Panel Description . 12 Power On/Off . .12 . Home Screen . .13 . Volume . 13 Inst Info . 13 . Click (Metronome) . 13 . Recorder . 13 Menu . 14 Power Menu . 14 Changing the Instrument . 15 . Adjusting the Pad Levels . .15 . Connecting Your Smart Device with Bluetooth . 16. Adjusting the Display (LCD) Settings . 17 Changing the Power Save Setting . 17. Adjusting the Hi-Hat . 17 Specifications . .18 . Support . 19 . For the EFNOTE 5 Reference Guide or other latest information, please refer to the EFNOTE 5 website . ef-note.com/products/drums/EFNOTE5/efnote5.html IMPORTANT SAFETY INSTRUCTIONS IMPORTANT SAFETY INSTRUCTIONS FAILURE TO OBSERVE THE FOLLOWING SAFETY INSTRUCTIONS MAY RESULT IN FIRE, ELECTRIC SHOCK, INJURY TO PERSONS, OR DAMAGE TO OTHER ITEMS OR PROPERTY . You must read and follow these instructions, heed all warnings, before using this product . Please keep this guide for future reference . About warnings and cautions About the symbols WARNING Indicates a hazard that could result "Caution": Calls your attention to a point of in death or serious injury caution CAUTION Indicates a hazard that could result "Do not . ":. Indicates a prohibited action in injury or property damage "You must . ":. Indicates a required action WARNING CAUTION To reduce the risk of fire or electric shock, do Do not place the product in an unstable not expose this product to rain or moisture location Do not use or store in the following locations Doing so may cause the product to overturn, causing personal injury . -
The PAS Educators' Companion
The PAS Educators’ Companion A Helpful Resource of the PERCUSSIVE ARTS SOCIETY EDUCATION COMMITTEE Volume VIII Fall 2020 PERCUSSIVE ARTS SOCIETY 1 EDUCATORS’ COMPANION THE PAS EDUCATORS’ COMPANION PERCUSSIVE ARTS SOCIETY EDUCATION COMMITTEE ARTICLE AUTHORS DAVE GERHART YAMAHA CORPORATION OF AMERICA ERIK FORST MESSIAH UNIVERSITY JOSHUA KNIGHT MISSOURI WESTERN STATE UNIVERSITY MATHEW BLACK CARMEL HIGH SCHOOL MATT MOORE V.R. EATON HIGH SCHOOL MICHAEL HUESTIS PROSPER HIGH SCHOOL SCOTT BROWN DICKERSON MIDDLE SCHOOL AND WALTON HIGH SCHOOL STEVE GRAVES LEXINGTON JUNIOR HIGH SCHOOL JESSICA WILLIAMS ALABAMA STATE UNIVERSITY EMILY TANNERT PATTERSON CAMBRIDGE UNIVERSITY PRESS How to reach the Percussive Arts Society: VOICE 317.974.4488 FAX 317.974.4499 E-MAIL [email protected] WEB www.pas.org HOURS Monday–Friday, 9 A.M.–5 P.M. EST PERCUSSIVE ARTS SOCIETY 1 TABLE OF CONTENTS BUILDING A STRONG FOUNDATION OF THE SNARE DRUM FULCRUM 3 by Dr. Dave Gerhart CONSISTENCY MATTERS: Developing a Shared Vernacular for Beginning 6 Percussion and Wind Students in a Heterogeneous Classroom by Dr. Erik M. Forst PERFECT PART ASSIGNMENTS - ACHIEVING THE IMPOSSIBLE 10 by Dr. Joshua J. Knight TOOLS TO KEEP STUDENTS INTRIGUED AND MOTIVATED WHILE PRACTICING 15 FUNDAMENTAL CONCEPTS by Matthew Black BEGINNER MALLET READING: DEVELOPING A CURRICULUM THAT COVERS 17 THE BASES by Matt Moore ACCESSORIES 26 by Michael Huestis ISOLATING SKILL SETS, TECHNIQUES, AND CONCEPTS WITH 30 BEGINNING PERCUSSION by Scott Brown INCORPORATING PERCUSSION FUNDAMENTALS IN FULL BAND REHEARSAL 33 by Steve Graves YOUR YOUNG PERCUSSIONISTS CRAVE ATTENTION: Advice and Tips on 39 Instructing Young Percussionists by Jessica Williams TEN TIPS FOR FABULOUS SNARE DRUM FUNDAMENTALS 46 by Emily Tannert Patterson ADDITIONAL RESOURCES 49 2 PERCUSSIVE ARTS SOCIETY EDUCATORS’ COMPANION BUILDING A STRONG FOUNDATION OF THE SNARE DRUM FULCRUM by Dr. -
Bass Clarinet and Untuned Percussion
funk for bass clarinet (or E♭contrabass/contra-alto clarinet) and untuned percussion Chris Dench funk for bass clarinet and untuned percussion (may also be played on E♭ contra-alto clarinet) duration: 9 minutes Chris Dench (1988-89) for Carl Rosman and Peter Neville Must have took me for a fool Not funk but funk conquered is what is When they chucked me out of school worthy of admiration and makes life ’Cos the teacher knew I had the funk… worth having been lived. Thomas Morgan Dolby Robertson Ludwig Wittgenstein Hyperactive Notebook entry 1940 Percussion Instruments 5 tomtoms Also coperto: 5 small squares of cloth with string tied to one corner. Other end of string tied to outside of tomtoms so that to begin the piece—tomtoms coperti—cloths are on the skins, and can be flicked off during I and K without problems. 5 cymbals Third cymbal a sizzle cymbal; splashy colours. 5 woodblocks 5 cowbells Straight, trumpet variety; not almglocken. logdrum Or wooden slit-drum; two pitches. 2 brake blocks Or other resonant metal blocks; no discernible pitch content. 2 small suspended bells Not pretty, hung pieces of resonant metal will do; higher pitched than brake blocks; no discernible pitch content. 2 bongos & 2 timbales Bongos and timbales function as treble and alto tomtoms. kick bass drum Deep toned. Chinese cymbal A large foot-choked hi-hat may be substituted. 2 tamtams Hung behind player so that they can be struck without looking. Player could use elbows or fists, gently. whip or slapstick Two wooden boards struck together. -
African Drumming in Drum Circles by Robert J
African Drumming in Drum Circles By Robert J. Damm Although there is a clear distinction between African drum ensembles that learn a repertoire of traditional dance rhythms of West Africa and a drum circle that plays primarily freestyle, in-the-moment music, there are times when it might be valuable to share African drumming concepts in a drum circle. In his 2011 Percussive Notes article “Interactive Drumming: Using the power of rhythm to unite and inspire,” Kalani defined drum circles, drum ensembles, and drum classes. Drum circles are “improvisational experiences, aimed at having fun in an inclusive setting. They don’t require of the participants any specific musical knowledge or skills, and the music is co-created in the moment. The main idea is that anyone is free to join and express himself or herself in any way that positively contributes to the music.” By contrast, drum classes are “a means to learn musical skills. The goal is to develop one’s drumming skills in order to enhance one’s enjoyment and appreciation of music. Students often start with classes and then move on to join ensembles, thereby further developing their skills.” Drum ensembles are “often organized around specific musical genres, such as contemporary or folkloric music of a specific culture” (Kalani, p. 72). Robert Damm: It may be beneficial for a drum circle facilitator to introduce elements of African music for the sake of enhancing the musical skills, cultural knowledge, and social experience of the participants. PERCUSSIVE NOTES 8 JULY 2017 PERCUSSIVE NOTES 9 JULY 2017 cknowledging these distinctions, it may be beneficial for a drum circle facilitator to introduce elements of African music (culturally specific rhythms, processes, and concepts) for the sake of enhancing the musi- cal skills, cultural knowledge, and social experience Aof the participants in a drum circle. -
Product Guide 2020
Product Guide 2020 ZILDJIAN 2020 PRODUCT GUIDE CYMBAL FAMILIES 3 K FAMILY 5 A FAMILY 13 FX FAMILY 17 S FAMILY 19 I FAMILY 21 PLANET Z 23 L80 LOW VOLUME 25 CYMBAL PACKS 27 GEN16 29 BAND & ORCHESTRAL CYMBALS 31 GEAR & ACCESSORIES 57 DRUMSTICKS 41 PRODUCT LISTINGS 59 1 Product Guide 2 THE CYMBAL FAMILY 3 Product Guide 4 THE FAMILY K ZILDJIAN CYMBALS K Zildjian cymbals are known for their dark, warm sounds that harkens back to the original K cymbals developed by Zildjian in 19th Century Turkey. Instantly recognizable by their ˝vented K˝ logo, K cymbals capture the aura of original Ks but with far greater consistency, making them the choice of drummers from genres as diverse as Jazz, Country and Rock. RIDES SIZES CRASHES SIZES HIHATS SIZES EFFECTS SIZES Crash Ride 18˝ 20˝ 21˝ Splash 8˝ 10˝ 12˝ HiHats 13˝ 14˝ Mini China 14˝ Ride 20˝ 22˝ Dark Crash Thin 15˝ 16˝ 17˝ 18˝ 19˝ 20˝ K/Z Special HiHats 13˝ 14˝ EFX 16˝ 18˝ Heavy Ride 20˝ Dark Crash Medium Thin 16˝ 17˝ 18˝ Mastersound HiHats 14˝ China 17˝ 19˝ Light Ride 22˝ 24˝ Cluster Crash 16˝ 18˝ 20˝ Light HiHats 14˝ 15˝ 16˝ Dark Medium Ride 22˝ Sweet Crash 16˝ 17˝ 18˝ 19˝ 20˝ Sweet HiHats 14˝ 15˝ 16˝ Light Flat Ride 20˝ Sweet Ride 21˝ 23˝ DETAILS: Exclusive K Zildjian random hammering, traditional wide groove lathing, all Traditional except 21” Crash Ride 6 SPECIAL DRY K CUSTOM CYMBALS K Custom cymbals are based on the darker, dryer sounds of the legendary K line but have been customized with unique finishes, K CUSTOM SPECIAL DRY CYMBALS tonal modifications, and manufacturing techniques. -
Percussion Primer / Triangle by Neil Grover
Percussion Primer / Triangle by Neil Grover SELECTION The triangle should be the highest, non-pitched member of the percussion family. Sizes range from 4” to 10”, however, the best size for concert playing is between 6” and 9”. A larger triangle provides a bigger internal working area for easier execution, however, it is heavier and more difficult to control. Triangles are made from steel, brass or bronze, each producing a different sonority. SUSPENSION A triangle needs to be suspended so that it vibrates unencumbered and freely, al- lowing maximum overtone resonance to be produced. It is very important that the instrument be suspended using a very thin, yet strong, mono-filament line. Fishing line works great and is also inexpensive. The use of string, cable, shoelaces, etc. will effec- tively dampen the resonance of any triangle. Using a second “catch line” will pre- vent the triangle from falling to the floor, should the primary line break. A light “triangle clip” will allow the triangle to be mounted on a music stand when not in use. STROKE The triangle should never be played when mounted on a music stand. It should al- ways be held at eye level and struck on the bottom leg with a motion that “pushes away” the bottom leg. This method will produce the maximum overtone sonority. A triangle sound full of overtones will blend with other instruments. Remember, a tri- angle is a non-pitched instrument and should have a very lush array of overtones, it should not sound like a bell! BEATERS Beaters are available in a large variety of sizes (diameters), materials and shapes. -
Ensoniq Mirage Factory Disks I Compiled This List to Help Me Organise and Label My
Ensoniq Mirage Factory Disks I compiled this list to help me organise and label my own (muddled) collection of disks. I hope it is of use to others – please feel free to correct any mistakes I’ve made. I’m not sure of the chronology of these libraries, and my listings are not 100% complete. This does not cover 3 rd party disks . From memory, when you bought a Mirage you got two (maybe 3?) sound disks with it – these were the ones numbered 1.4, 3.2, etc. I’ve listed what I know of those. There was also a library numbered 1, 2, 3, etc. These went up to at least 23, maybe further? Again, I’ve listed what I know of those. Then a library starting 100, 101, 102. All I know for sure is the contents of 102. Finally there was a 30 disk library – A1-10, B1-10 and C1-10. I have listed these completely. As far as I can see, this library (still available at a stupid price from Syntaur as of Jan 2013) covers every library sample Ensoniq ever did for the Mirage. You’ll notice that some of the disks are duplicated, eg 12 is identical to B09. Other disks are made up from different ones – 23 is the Steel Guitar, Banjo and Fiddle from A06 with the Tremolo Mandolin from B06. LOWER UPPER A01 1 Ambient drums Ambient drums 2 Latin percussion Latin percussion 3 Vibraphone Vibraphone A02 1 Clavinet Clavinet 2 Electric Piano #1 Electric Piano #1 3 Drawbar Organ #2 Drawbar Organ #2 A03 1 Vocal Ta Vocal Ta 2 Vocal Doo Vocal Doo 3 Male Voices Female Voices A04 1 Stacked Strings Hi Strings – Bowed 2 Low Strings Hi Strings - Pizz 3 Low Strings Tremolo Hi Strings Tremolo -
Explore Music 7 World Drumming.Pdf (PDF 2.11
Explore Music 7: World Drumming Explore Music 7: World Drumming (Revised 2020) Page 1 Explore Music 7: World Drumming (Revised 2020) Page 2 Contents Explore Music 7: World Drumming Overview ........................................................................................................................................5 Unit 1: The Roots of Drumming (4-5 hours)..................................................................................7 Unit 2: Drum Circles (8-10 hours) .................................................................................................14 Unit 3: Ensemble Playing (11-14 hours) ........................................................................................32 Supporting Materials.......................................................................................................................50 References.................................................. ....................................................................................69 The instructional hours indicated for each unit provide guidelines for planning, rather than strict requirements. The sequence of skill and concept development is to be the focus of concern. Teachers are encouraged to adapt these suggested timelines to meet the needs of their students. To be effective in teaching this module, it is important to use the material contained in Explore Music: Curriculum Framework and Explore Music: Appendices. Therefore, it is recommended that these two components be frequently referenced to support the suggestions for -
Asphalt Cocktail
Asphalt Cocktail (2009) John Mackey arranged for saxophone and percussion ensemble by Matt Evans for the Eastman Saxophone Project Originally commissioned by Howard J. Gourwitz as a gift to Dr. Kevin L. Sedatole and the Michigan State University Wind Symphony Copyright © 2009/2014 Osti Music, Inc. WWW.OSTIMUSIC.COM Instrumentation 4 soprano saxophones 4 alto saxophones 3 tenor saxophones 3 baritone saxophones 1 bass saxophone These are minimums required. In the event that an ensemble has more than 15 players available, parts should be doubled in this order: Baritone 3/Bass Tenor 2 Tenor 3 Baritone 2 Baritone 1 Tenor 1 Alto 3 Alto 4 Beyond this, it is recommended to triple the lower parts before doubling any of the soprano parts or alto 1/2. Percussion (7 players) Player 1: Timpani (4 drums, 5 if desired) Player 2: Xylophone, Marimba, Whip Player 3: Tambourine; metal cocktail shaker with nuts, etc. inside; small metal trash can filled with metal, taped shut (will be slammed to floor, sounding like a controlled crash of chains) Player 4: Hi-hat; China cymbal; upside-down 14" mini-China with 13" Trash Splash cymbal stacked inside Player 5: 4 Tom-Toms; field drum with Kevlar head; whip; metal cocktail shaker with nuts, etc. inside Player 6: 4 Cymbals: crash, Zildjian 16" ZHT EFX (or comparable), China, Splash Player 7: Bass Drum Percussion 3 ÷ ¿ œ cocktail shaker tambourine small metal– trash can Percussion 4 ¿ — ÷ ¿ hi-hat¿ (foot) hi-hat (sticks) China (or second EFX cymbal) China with Trash Splash inside Percussion 5 œ ¿ ÷ œ œ œ ¿ œ field drum with Kevlar head 4 tom-toms whip cocktail shaker Percussion 6 ¿ ¿ ÷ ¿ ¿ crash cymbal EFX cymbal China Splash Note: All trills are 1/2-step trills. -
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 -
Drummer! ...But I Have Some in My Ensemble Percussion Quick-Reference Book for School Band and Orchestra Directors by Sean J
sample I’m NOT a Help! Drummer! ...but I have some in my ensemble Percussion Quick-reference Book for School Band and Orchestra Directors by Sean J. Kennedy Copy Editor Heather High-Kennedy Instrument Photographs by Ashley Kennedy Copyright © 2016 by Carl Fischer, LLC sampleInternational Copyright Secured. All rights reserved including performing rights. WARNING! This publication is protected by Copyright law. To photocopy or reproduce by any method is an infringement of the Copyright law. Anyone who reproduces copyrighted matter is subject to substantial penalties and assessments for each infringement. DRM143 Printed in the U.S. A. ISBN 978-0-8258-xxxx-x 2 Table of Contents Acknowledgements ..............................................................................................................3 Preface .................................................................................................................................4 Assigning Parts ......................................................................................................................5 Snare Drum ...........................................................................................................................6 Tenor Drum and Field Drum ..............................................................................6 Snare Drum Sticks ................................................................................................................7 Stick Pitch ..............................................................................................................7 -
Guidelines for Percussion Writing
GUIDELINES FOR PERCUSSION WRITING 1. INSTRUMENTATION The following instruments are available: Timpani (four, ranges D – B, F – d, A – f, d – bb) Bongos (two) Tom-toms (two) Large Concert Bass Drum (36”) Congas (two) Small Bass Drum (28” – pedal can be attached) Rototoms (three) Surdo Side Drum (snares on or off) Tambourim Piccolo side drum (snares on or off) Darbouka Bodhran Tenor Drum (no snares) Cowbells (three) Clash Cymbals (three pairs: 18” or 20” French, Agogo bells (two ‘pitches’) 20” Viennese) Alpenglocken (eight of various sizes) Suspended Cymbals (three: 14”, 18”, 20”) Mark tree (bell tree) Cymbal attached to bass drum Sleigh bells (two sets) Hi-Hat Cymbal with pedal Handbell (untuned) Antique (finger) cymbals (two pairs, unpitched) Anvil Tam-tam (30”) Maracas (two pairs) Gong (20”) Egg shakers Guiros (two) Triangles (six, various sizes and timbres) Reco Reco Cabasa Orchestral Tambourines (two: 10”, 12”) Chekere Rock Tambourine (no head) Vibraslap Flexatone Xylophone Rainsticks (two, one large, one small) Glockenspiel Claves (two pairs) Vibraphone Castanets (Machine and handle) Metal Castanets Tubular bells (1½ octave chromatic set, C – g) Sandpaper blocks Wood blocks (three ‘pitches’) Thunderdrum Temple blocks (five ‘pitches’) Thunder sheet Jam blocks (two ‘pitches’) Big Bom Miscellaneous whistles (referee, train, lighthouse) Apito (samba whistle) Wind chimes (bamboo) Slide whistle (swanee whistle) Whip / Clapper Bulbhorns (two: large - car, small - bicycle) Slapstick Kazoo Ratchet / Rattle Bird calls (nightingale, pigeon, cuckoo, quail, duck) If you require any additional instruments, they would have to be hired – please check with an Orchestra representative first. The most common items that fall into this category are: Piccolo Timpani (20” or smaller) (Rock/Jazz) Drumkit Timbales Cajon Crotales (low or high octave) Log Drum Bass bells (below middle C) Mahler Hammer Hang/Gubal Aluphone Steel Drum Boobams Marimba Keyed Glockenspiel Tubophone Please note that you should not take this list as an invitation to use it all – moderation is a good thing! II.