Concert Percussion Master Class
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3D Printing: the Effect of Adapted Mallets on the Participation of Children with Severe and Multiple Disabilities
Pacific Journal of Health Volume 2 Issue 1 Article 4 2019 3D Printing: The Effect of Adapted Mallets on the Participation of Children with Severe and Multiple Disabilities Vienna Sa University of the Pacific, [email protected] Follow this and additional works at: https://scholarlycommons.pacific.edu/pjh Part of the Music Therapy Commons, and the Special Education and Teaching Commons Recommended Citation Sa, Vienna (2019) "3D Printing: The Effect of Adapted Mallets on the Participation of Children with Severe and Multiple Disabilities," Pacific Journal of Health: Vol. 2 : Iss. 1 , Article 4. Available at: https://scholarlycommons.pacific.edu/pjh/vol2/iss1/4 This Article is brought to you for free and open access by Scholarly Commons. It has been accepted for inclusion in Pacific Journal of Health yb an authorized editor of Scholarly Commons. For more information, please contact [email protected]. 3D Printing: The Effect of Adapted Mallets on the Participation of Children with Severe and Multiple Disabilities Abstract The purpose of this study was to determine the changes in two measures of participation for a small sample of children with severe and multiple disabilities when using adapted mallets for instruments. The two measures of participation were: decibel level (dB) and frequency of sound produced. Three children between the ages of 5 and 11 years old participated in a single music therapy session testing four different popular adapted mallets, and a control mallet. A 3D-printed mallet grip was among the adapted mallets and was customized to the individual’s hand contour. The sessions tested all five mallets in random order on the each of the three children. -
Ludwig-Musser 2010 Concert Percussion Catalog AV8084 2010
Welcome to the world of Ludwig/Musser Concert Percussion. The instruments in this catalog represent the finest quality and sound in percussion instruments today from a company that has been making instruments and accessories in the USA for decades. Ludwig is “The Most famous Name in Drums” since 1909 and Musser is “First in Class” for mallet percussion since 1948. Ludwig & Musser aren’t just brand names, they are men’s names. William F. Ludwig Sr. & William F. Ludwig II were gifted percussionists and astute businessmen who were innovators in the world of percussion. Clair Omar Musser was also a visionary mallet percussionist, composer, designer, engineer and leader who founded the Musser Company to be the American leader in mallet instruments. Both companies originated in the Chicago area. They joined forces in the 1960’s and originated the concept of “Total Percussion.” With our experience as a manufacturer, we have a dedicated staff of craftsmen and marketing professionals that are sensitive to the needs of the percussionist. Several on our staff are active percussionists today and have that same passion for excellence in design, quality and performance as did our founders. We are proud to be an American company competing in a global economy. Musser Marimbas, Xylophones, Chimes, Bells, & Vibraphones are available in a wide range of sizes and models to completely satisfy the needs of beginners, schools, universities and professionals. With a choice of hammered copper, smooth copper or fiberglass bowls, Ludwig Timpani always deliver the full rich sound that generations of timpanists have come to expect from Ludwig. -
Nitro Drum Kit Assembly Guide
Assembly Guide Guía de armado Guide de montage alesis.com Guida di montaggio Montageanleitung Manual Version 1.0 Note: Use the drum key (V) to loosen or 1 tighten the bolts of clamps when assembling 23 the kit or making adjustments. E F Nota: Use la llave (V) para aflojar o apretar F F los pernos de las abrazaderas cuando arme el kit o haga ajustes. Remarque : Utilisez la clé de batterie (V) E pour dévisser ou resserrer les boulons des bagues de fixation lors de l’assemblage de A B l'ensemble pour batterie ou pour faire des A B ajustements. CD G Nota bene: servirsi della chiave della batteria (V) per allentare o stringere i bulloni A/B dei morsetti al momento di montare il kit o di C/D apportare regolazioni. A Hinweis: Verwenden Sie den E/F Stimmschlüssel (V), um die Klemmen bei der Montage des Kits oder bei Anpassungen zu lockern oder festzuziehen. 4 5 H 6 8 I I H H I I I H H H 6 789 L M L/M M J J K Q ON Q J/K P O+N alesis.com Manual Version 1.0 Box Contents Connection Diagram Schema dei collegamenti A (1) B (1) C (1) Contenido de la caja Diagrama de conexión Anschlussübersicht Contenu de la boîte Schéma d’installation Contenuti della confezione Important: Use the cable snake (R) to connect the drum pads and cymbal pads to the module (Q) (as Lieferumfang shown in the Connection Diagram). Importante: Use el grupo de cables (R) para conectar D (1) E (1) F (2) G (1) los módulos de tambores y platillos al módulo (Q) (como se muestra en el diagrama de conexión). -
TD-30 Data List
Data List Preset Drum Kit List No. Name Pad pattern No. Name Pad pattern 1 Studio 41 RockGig 2 LA Metal 42 Hard BeBop 3 Swingin’ 43 Rock Solid 4 Burnin’ 44 2nd Line 5 Birch 45 ROBO TAP 6 Nashville 46 SATURATED 7 LoudRock 47 piccolo 8 JJ’s DnB 48 FAT 9 Djembe 49 BigHall 10 Stage 50 CoolGig LOOP 11 RockMaster 51 JazzSes LOOP 12 LoudJazz 52 7/4 Beat LOOP 13 Overhead 53 :neotype: 1SHOT, TAP 14 Looooose 54 FLA>n<GER 1SHOT, TAP 15 Fusion 55 CustomWood 16 Room 56 50s King 17 [RadioMIX] 57 BluesRock 18 R&B 58 2HH House 19 Brushes 59 TechFusion 20 Vision LOOP, TAP 60 BeBop 21 AstroNote 1SHOT 61 Crossover 22 acidfunk 62 Skanky 23 PunkRock 63 RoundBdge 24 OpenMaple 64 Metal\Core 25 70s Rock 65 JazzCombo 26 DrySound 66 Spark! 27 Flat&Shallow 67 80sMachine 28 Rvs!Trashy 68 =cosmic= 29 melodious TAP 69 1985 30 HARD n’BASS TAP 70 TR-808 31 BazzKicker 71 TR-909 32 FatPressed 72 LatinDrums 33 DrumnDubStep 73 Latin 34 ReMix-ulator 74 Brazil 35 Acoutronic 75 Cajon 36 HipHop 76 African 37 90sHouse 77 Ka-Rimba 38 D-N-B LOOP 78 Tabla TAP 39 SuperLoop TAP 79 Asian 40 >>process>>> 80 Orchestra TAP Copyright © 2012 ROLAND CORPORATION All rights reserved. No part of this publication may be reproduced in any form without the written permission of ROLAND CORPORATION. Roland and V-Drums are either registered trademarks or trademarks of Roland Corporation in the United States and/or other countries. -
The Orchestra What Does an Orchestra Play?
The Orchestra What does an orchestra play? But what is music? What is sound? Vibrations ♫ An instrument makes sound when it vibrates. Vibrations create sound waves. ♫ Big waves create low sounds and small waves create high sounds. Small wave = High Sounds Big wave = Low Sounds Instruments ♫ BIG instruments create _____BIG sound waves. ♫ This means BIG instruments create ______LOW sounds. ♫ SMALL instruments create ________SMALL sound waves. ♫ This means SMALL instruments create ______HIGH sounds. The Orchestra ♫ An orchestra is a large group of instruments. ♫ It is split up into four sections, these are called families. The Families Each family in the orchestra is made up of instruments with similar characteristics. These characteristics can be: ♫ What the instruments look like ♫ How they are played ♫ What they are made of It is when ALL FOUR families are playing together they create an orchestra. String Family The family of instruments which has strings. The sound is produced by dragging a bow across the strings or by plucking them with the fingers. Violin Cello Harp Viola Double Bass The Violin HEAD Scroll 4 Strings Finger Board Tuning Pegs NECK Bridge BODY ‘F’ Holes Tail Piece Chin Rest String Family String instruments can be played in lots of different ways!! Arco ~ Played with the bow Pizzicato ~ Plucked with the fingers Col Legno ~ Played with the wood of the bow Strumming ~ Using fingers or a plectrum to play notes String Family ♫ The _______violin is the smallest of the string family. It plays the _________highest sound. ♫ The _____________double bass is the ________biggest in the string family. It plays the lowest sound. -
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 -
Vibraslap 1 Vibraslap
Vibraslap 1 Vibraslap Vibraslap A Vibraslap manufactured by LP A vibraslap is a percussion instrument consisting of a piece of stiff wire (bent in a U shape) connecting a wood ball to a hollow box of wood with metal “teeth” inside. The percussionist holds the metal wire in one hand and strikes the ball (usually against the palm of their other hand). The box acts as a resonating body for a metal mechanism placed inside with a number of loosely fastened pins or rivets that vibrate and rattle against the box.[1] The instrument is a modern version of the jawbone. The Vibra-Slap was the first patent granted to the LP Vibraslap showing metal teeth instrument manufacturing company Latin Percussion.[2] The Vibra-Slap's inventor was Martin Cohen. Cohen was told by percussionist Bob Rosengarden, ‘If you want to make some money, make a jawbone that doesn’t break.' About the inventing process Cohen remembers, “I had never seen a jawbone before, but I had heard one on a Cal Tjader album. I found out that it was an animal skull that you would strike, and the sound would come from the teeth rattling in the loose sockets. So I took that concept and invented the Vibraslap, which was my first patent.” [3] The instrument is frequently used in Latin American music. The vibraslap was a ubiquitous part of jazz or pop-based film scores, primarily action films and television series, in the 1970s and early 1980s. It is also used extensively in the music of alternative rock band CAKE (as well as in "Weird Al" Yankovic’s “Close But No Cigar”, which is a parody of CAKE’s style). -
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. -
5-Piece Junior Drum Kit Assembly Instruction
5-Piece Junior Drum Kit Assembly Instruction Thank you for choosing this quality set from Cecilio. Use the instructions as a guide to help you assemble your new drum set. Please note that this manual is designed for a number of Cecilio drum sets. If you are unsure of what your drum set should be supplied with, please check with the Cecilio dealer you purchased the kit from. There are many parts that make up a drum set, but don’t worry, once you get started the process is very intuitive and fun. Bass Drum: 1. Lay the Bass drum Shell (A) on a flat surface with the front side up. You can identify the front side by the location of the Bass Drum leg mount (B). The leg mounts are closer to the front side of the bass drum (furthest from the playing position). 2. The “logo drumhead” should be fitted to the front of the bass drum and aligned straight. 3. Place the drum head (C) (same diameter as the drum) directly on the top of the drum shell followed by the hoop (D). 4. Gently hang the claws (E) over the edge of the hoop, and line them up with the lugs. Take the longest ten- sion screws (aka T-Rods), slip a washer on each, and insert them through the holes in the claws. 5. Tighten the screws into the lugs using your fingers two at a time, just enough so the hoops are secure, and no wrinkles are in the head. 6. Now you may use a drum key (F) to tighten the tension bolts in equal amounts (1 quarter turn each for example) until pitch and tone of the drum begin to sound. -
Multi-Percussion in the Undergraduate Percussion Curriculum Benjamin A
University of Miami Scholarly Repository Open Access Dissertations Electronic Theses and Dissertations 2014-12 Multi-percussion in the Undergraduate Percussion Curriculum Benjamin A. Charles University of Miami, [email protected] Follow this and additional works at: http://scholarlyrepository.miami.edu/oa_dissertations Recommended Citation Charles, Benjamin A., "Multi-percussion in the Undergraduate Percussion Curriculum" (2014). Open Access Dissertations. Paper 1324. This Open access is brought to you for free and open access by the Electronic Theses and Dissertations at Scholarly Repository. It has been accepted for inclusion in Open Access Dissertations by an authorized administrator of Scholarly Repository. For more information, please contact [email protected]. ! ! UNIVERSITY OF MIAMI ! ! MULTI-PERCUSSION IN THE UNDERGRADUATE PERCUSSION CURRICULUM ! By Benjamin Andrew Charles ! A DOCTORAL ESSAY ! ! Submitted to the Faculty of the University of Miami in partial fulfillment of the requirements for the degree of Doctor of Musical Arts ! ! ! ! ! ! ! ! ! Coral Gables,! Florida ! December 2014 ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ©2014 Benjamin Andrew Charles ! All Rights Reserved UNIVERSITY! OF MIAMI ! ! A doctoral essay proposal submitted in partial fulfillment of the requirements for the degree of Doctor of Musical! Arts ! ! MULTI-PERCUSSION IN THE UNDERGRADUATE PERCUSSION CURRICULUM! ! Benjamin Andrew Charles ! ! !Approved: ! _________________________ __________________________ -
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. -
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.