Meinl Percussion Spare Parts
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Premium Blend: Middle School Percussion Curriculum Utilizing Western and Non-Western Pedagogy
Premium Blend: Middle School Percussion Curriculum Utilizing Western and Non-Western Pedagogy Bob Siemienkowicz Winfield School District 34 OS 150 Park Street Winfield, Illinois 60190 A Clinic/Demonstration Presented by Bob Siemienkowicz [email protected] And The 630.909.4974 Winfield Percussion Ensembles ACT 1 Good morning. Thank you for allowing us to show what we do and how we do it. Our program works for our situation in Winfield and we hope portions of it will work for your program. Let’s start with a song and then we will time warp into year one of our program. SONG – Prelude in E minor YEAR 1 – All those instruments The Winfield Band program, my philosophy has been that rhythm is the key to success. I tell all band students “You can learn the notes and fingerings fine, but without good rhythm, no one will understand what you are playing.” This is also true in folkloric music. Faster does not mean you are a better player. How well you communicate musically establishes your level of proficiency. Our first lessons with all band students are clapping exercises I design and lessons from the Goldenberg Percussion method book. Without the impedance of embouchure, fingerings and the thought of dropping a $500 instrument on the floor, the student becomes completely focused on rhythmic study. For the first percussion lesson, the focus is also rhythmic. Without the need for lips, we play hand percussion immediately. For the first Western rudiment, we play paradiddles on conga drums or bongos (PLAY HERE). All percussion students must say paradiddle while they play it. -
A Musical Analysis of Afro-Cuban Batá Drumming
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2019 Meaning Beyond Words: A Musical Analysis of Afro-Cuban Batá Drumming Javier Diaz The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2966 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] MEANING BEYOND WORDS: A MUSICAL ANALYSIS OF AFRO-CUBAN BATÁ DRUMMING by JAVIER DIAZ A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts, The City University of New York 2019 2018 JAVIER DIAZ All rights reserved ii Meaning Beyond Words: A Musical Analysis of Afro-Cuban Batá Drumming by Javier Diaz This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor in Musical Arts. ——————————— —————————————————— Date Benjamin Lapidus Chair of Examining Committee ——————————— —————————————————— Date Norman Carey Executive Officer Supervisory Committee Peter Manuel, Advisor Janette Tilley, First Reader David Font-Navarrete, Reader THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Meaning Beyond Words: A Musical Analysis of Afro-Cuban Batá Drumming by Javier Diaz Advisor: Peter Manuel This dissertation consists of a musical analysis of Afro-Cuban batá drumming. Current scholarship focuses on ethnographic research, descriptive analysis, transcriptions, and studies on the language encoding capabilities of batá. -
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. -
Percussion Quartet 1.Mus
JULIÁN________________ BRIJALDO CONGANESS for Percussion Quartet www.julianbrijaldo.com [email protected] CONGANESS 5:00 INSTRUMENTATION Percussion I: Bongos Conga drum Tumbadora Percussion II: Vibraphone Marimba 4 Tom-toms Crash cymbal, Splash cymbal & China cymbal Percussion III: Vibraphone Marimba 4 Tom-toms Crash cymbal, Splash cymbal & China cymbal* Percussion IV: Glockenspiel Vibraphone 3 Timpani: 32,'' 26,'' 23'' * The percussion sets share intruments (See the suggested stage diagram) Performance Notes: . Percussion I has the leading role throughout the piece. It should not be overpowered by the other instruments at any moment. The tempo markings in parentheses are approximated. Ideally, the rhythmic flow should feel flexible. Any fermata should not last more than 5 seconds. The individual parts include an instrumental glossary. Duration up to the performers Square fermata: Duration in seconds is notated above the symbol Roll accelerando or ritardando independentely from the tempo indications for the ensemble. Program Notes: by Catalina Villamarín What makes a conga drum what it is? What gives it its distinctive round, earthy sound? Would it be possible to turn any instrument into a conga drum? CONGANESS plays with these questions, and sets out to make a conga drum out of the combination of all the instruments in this percussion quartet. The foundation of CONGANESS was the spectrographic analysis of the four strokes found in a conga-drum salsa pattern: a tumbadora open stroke, a conga-drum open stroke, a conga-drum slap stroke and a conga-drum muffled stroke. The most prominent frequencies of each of these sounds were approximated to the closest pitches available, becoming the palette of sounds with which the piece was built. -
Harmonic Analysis of Mallet Percussion by Max Candocia Goals
Harmonic Analysis of Mallet Percussion By Max Candocia Goals • Basic understanding of sound waves and mallet percussion • Understand harmonic analysis • Understand difference in sounds of different mallets and striking location Marimba Vibraphone Recording: Vermont Counterpoint, Nathaniel Bartlett Recording: La Fille Aux Cheveux de Lin, Ozone Percussion Ensemble Photo courtesy of vichitex.com Photo courtesy of woodbrass.com Xylophone Recording: Fantasy on Japanese Wood Prints Photo courtesy of onlinerock.com Sound Waves • Vibrating medium (ie. Air, water, ground) • Longitudinal • Harmonics – Sinusoidal Components Sine: Sawtooth: Images courtesy of Wikipedia Qualities of Harmonics • Frequency – Cycles per second (Hertz); determines pitch Photo courtesy of Wikipedia • Amplitude – Power of wave; determines loudness Photo courtesy of physics.cornell.edu • Phase – Location of harmonic relative to other harmonics Photo courtesy of 3phasepower.org Harmonic Analysis Harmonics of Kelon xylophone struck in center with hard rubber mallet Vibraphone HarmonicsDry: Wet: Instrument Mallet Location # Harmonics H1 dB H2 dB H3 dB H4 dB H5 dB Vibraphone Black Dry 5 6 19 0.8 13 3 Vibraphone Black Wet 2 16 1.1 Vibraphone Red Dry 3 22 3.5 1.5 Vibraphone Red Wet 1 1 Vibraphone White Dry 4 16 0.5 9 0.6 Vibraphone White Wet 2 25 1.5 Xylophone Harmonics Instrument Mallet Location # Harmonics H1 Freq H2 Freq H3 Freq H4 Freq H5 Freq Xylophone Hard Rubber Center 4 886.9 1750 2670 5100 Xylophone Hard Rubber Edge 4 886.9 1760 2670 5150 Xylophone Hard Rubber Node 3 886.85 -
Jost Nickel Clinic Rider (1 of 5)
Jost Nickel Clinic Rider (1 of 5) Meinl Cymbal Preparations: 14" Extra Dry Medium Hihat 10" Electro Stack GX-8/10ES 18" Byzance Traditional Extra Thin Hammered Crash 8" Byzance Traditional Splash 22" Byzance Dark Spectrum Ride 12" Electro Stack GX-10/12ES 18" Byzance Extra Dry Thin Crash 6" Byzance Traditional Splash 22" Byzance Vintage Crash Meinl Percussion Preparations: 1x STB80S-CH (8" Cowbell) 1x Holder MC-1 1x TMPTS Percussion Table Stand 1x MEINL Drum Rug Sonor Drum Preparations (Prolite / Vintage Series / SQ1 / SQ2) 2x 14" x 6.25" SSD JN SDW 12" x 8" Tom (NOT: 12" x 9" or 12" x 10") 14" x 14" Floortom 16" x 16" Floortom 22" x 17" Bassdrum Sonor Hardware Preparations (600 Series) 7x Mini Boom Cymbalstands (MBS 673) 2x Snarestands (SS 677) 1x Giant Step Double Pedal 1x HiHatstand (HH 674) 2x Multiclamps (MC 676) 1x Single Tom Holder (Rack Tom) 6x Legs for Floortoms 1x Drumstool 1 Jost Nickel Clinic Rider (2 of 5) Remo Drumhead Preparations: Toms: 12" Emperor Coated (Top) & 12" Diplomat Coated (Bottom) 14" Emperor Coated (Top) & 14" Diplomat Coated (Bottom) 16" Emperor Coated (Top) & 16" Diplomat Coated (Bottom) Snares: 2x 14" Ambassador Coated 2x 14" Ambassador Snare Side Bassdrum: 22" Powerstroke 3 clear Please contact Jost’s equipment reps in case of any questions: Sonor: Thomas Barth [email protected] Meinl: Norbert Saemann [email protected] Vic Firth: Joe Testa [email protected] Remo: Christopher Hart [email protected] Music: Jost will be playing to pre-recorded tracks during the event, using his laptop computer and an audio device as the sound source. -
MP-Price-List-2020-EUR.Pdf
PRICE LIST 2020 EURO Model Description Price PICKUP PICKUP INSTRUMENTS NEW MPDS1 digital percussion stomp box 199,00 € NEW MPS1 analog percussion stomp box 89,00 € NEW MPSM stomp box mount 49,90 € FX10 fx pedal 169,00 € PBASSBOX pickup bassbox 129,00 € PSNAREBOX pickup snarebox 119,00 € NEW MIC-PERC percussion microphone 24,90 € KA9P-AB pickup kalimba, african brown 99,90 € PICKUP CAJONS NEW PAESLDOB artisan edition pickup cajon, solea line 299,00 € PWCP100MB pickup cajon, woodcraft professional, makah-burl frontplate 199,00 € PSC100B pickup cajon, snarecraft, baltic birch frontplate 149,00 € PSUBCAJ6B pickup vertical subwoofer cajon, baltic birch 249,00 € PTOPCAJ2WN pickup slaptop cajon, turbo, walnut playing surface 189,00 € PTOPCAJ4MH-M pickup slaptop cajon, mahogany playing surface 149,00 € NEW PBASSCAJ-KIT cocktail cajon kit 499,00 € NEW PBASSCAJ cocktail cajon 169,90 € NEW PBC1B pickup bongo cajon 79,90 € NEW PCST pickup cajon snare tap 74,90 € NEW PCTT pickup cajon tom tap 69,90 € NEW MMCS mini cajon speaker 59,90 € PA-CAJ cajon preamp 99,00 € NEW CMS cajon microphone stand 9,90 € CAJONS ARTISAN EDITION CAJONS AEMLBI martinete line, brazilian ironwood with ukola woodframe frontplate 1.199,00 € AEFLIH fandango line, indian heartwood frontplate 699,00 € AESELIH seguiriya line, indian heartwood frontplate 469,00 € AESELCB seguiriya line, canyon-burl frontplate 469,00 € AECLWN cantina line, walnut frontplate 499,00 € AEBLLB buleria line, lava-burl frontplate 299,00 € AEBLMY buleria line, mongoy frontplate 299,00 € AESLEYB soleà line, -
PERCUSSION INSTRUMENTS of the ORCHESTRA Cabasa
PERCUSSION INSTRUMENTS OF THE ORCHESTRA Cabasa - A rattle consisting of a small gourd covered with a loose network of strung beads. It is held by a handle and shaken with a rotating motion. Claves - A pair of hardwood cylinders, each approximately 20 cm. long. One cylinder rests against the fingernails of a loosely formed fist (cupped to act as a resonator) and is struck with the other cylinder. Cowbell - A metal bell, usually with straight sides and a slightly expanding, nearly rectangular cross section. A type without a clapper and played with a drumstick is most often used in orchestras. Castanets - Consists of two shell-shaped pieces of wood, the hollow sides of which are clapped together. They produce an indefinite pitch and are widely used in Spanish music especially to accompany dance. When used in an orchestra, they are often mounted on either side of a piece of wood that is held by the player and shaken. Sleigh bells - Small pellet bells mounted in rows on a piece of wood with a protruding handle. Tambourine - A shallow, single-headed frame drum with a wooden frame in which metal disks or jingles are set. It is most often held in one hand and struck with the other. Bongos - A permanently attached pair of small, single-headed, cylindrical or conical drums. One drum is of slightly larger diameter and is tuned about a fifth below the smaller. The pair is held between the knees and struck with the hands. Maracas - A Latin American rattle consisting of a round or oval-shaped vessel filled with seeds or similar material and held by a handle. -
Wavedrum Voice Name List
Voice Name List Live mode Button Program Bank-a Programs 1 98 The Forest Drum 2 61 D&B Synth Head Rim Head Rim 3 15 Djembe (Double-size) No. Program No. Program Algo. Inst. Algo. Inst. Algo. Inst. Algo. Inst. 4 49 Steel Drum (F-A-B -C-F) Real Instrument 51 Balafon 7 51 25 81 Bank-b 0 Snare 1 (Double-size) 29 - - - 52 Gamelan 9 76 18 63 1 35 Tabla Drone 1 Snare 2 (Double-size) 30 - - - 53 EthnoOpera 7 61 15 72 2 75 Dance Hit Drone (Key of F) 2 Snare 3 (Double-size) 31 - - - 54 Koto Suite 20 79 20 66 3 0 Snare 1 (Double-size) 3 Velo Ambi Snare 19 17 2 12 55 Compton Kalling 20 5 22 15 4 50 Broken Kalimba 4 Multi Powerful Tom 5 22 24 21 56 Wind Bonga 7 8 19 28 Bank-c 5Krupa Abroad 2 267 10 57 Personality Split 7 10 16 78 1 59 Snare/Kick 2 (Double-size) 6 Pitched Toms w/Cowbell 19 24 4 22 Bass Drum/Snare Drum split 2 67 Kenya Street Rap 7 Ambi Taiko 9 23 19 12 58 Snare/Kick 1 (Double-size) 35 - - - 3 19 Conga (Double-size) 8 Viking War Machine 12 34 9 20 59 Snare/Kick 2 (Double-size) 36 - - - 4 82 DDL Mystic Jam 9 Vintage Electronic Toms 26 31 2 14 60 Kick The Synth 4 11 4 1 10 Okonkolo → Iya Dynamics 10 60 18 21 61 D&B Synth 4 16 23 85 11 Iya Boca/Slap Dynamics 10 58 14 29 62 Voice Perc. -
8 Weeks Percussion Second Half.Pub
More Rudiment Fun! Volume 1, Issue 6 Week 5 Dynamic Fun and More Inside this week: Rudiments Dynamics on 2 Orchestra Bells Dynamic Work- 3 What Gives the Keyboard Instruments sheet Their Sound? Snare Drum 4 As we briefly discussed in sounds are the resonator Rudiments #2 earlier weeks, keyboard in- tubes below the tone bars. struments create different These resonators are spe- Snare Drum 5 pitches based on their cific lengths and sizes. At Exercises #3 length, width, depth, or den- the proper dimensions the sity (composite material). resonators will help create a Weekly Practice 7 clear tone and accurate Chart Adding to the quality of pitch. The vibraphone not only has resonators, but also paddles inside the tubes. These pad- dles are turned by a motor and the speed determines the width of vibrato pro- duced. The sounds is meant to mimic that of a human voice. Chimes The resonator tubes on the The chimes are re- marimba can be quite lengthy lated to keyboard and windy. Due to the low instruments. Each pitch and timbre needed the tune on a set of resonators must be large to chimes is like one key accommodate the sound. on a keyboard instru- ment. Chimes are struck at the very top with a rawhide ham- mer. Like the piano and vibraphone it has What To Expect This Week... a dampening pedal, that when pressed, allows the notes to ring. This week we will take some great percussionist. the book and look carefully time to focus purely on the at the items listed on the On snare drum we will learn fundamentals of playing. -
An Examination of Jerry Goldsmith's
THE FORBIDDEN ZONE, ESCAPING EARTH AND TONALITY: AN EXAMINATION OF JERRY GOLDSMITH’S TWELVE-TONE SCORE FOR PLANET OF THE APES VINCENT GASSI A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO MAY 2019 © VINCENT GASSI, 2019 ii ABSTRACT Jerry GoldsMith’s twelve-tone score for Planet of the Apes (1968) stands apart in Hollywood’s long history of tonal scores. His extensive use of tone rows and permutations throughout the entire score helped to create the diegetic world so integral to the success of the filM. GoldsMith’s formative years prior to 1967–his training and day to day experience of writing Music for draMatic situations—were critical factors in preparing hiM to meet this challenge. A review of the research on music and eMotion, together with an analysis of GoldsMith’s methods, shows how, in 1967, he was able to create an expressive twelve-tone score which supported the narrative of the filM. The score for Planet of the Apes Marks a pivotal moment in an industry with a long-standing bias toward modernist music. iii For Mary and Bruno Gassi. The gift of music you passed on was a game-changer. iv ACKNOWLEDGEMENTS Heartfelt thanks and much love go to my aMazing wife Alison and our awesome children, Daniela, Vince Jr., and Shira, without whose unending patience and encourageMent I could do nothing. I aM ever grateful to my brother Carmen Gassi, not only for introducing me to the music of Jerry GoldsMith, but also for our ongoing conversations over the years about filM music, composers, and composition in general; I’ve learned so much. -
11C Software 1034-1187
Section11c PHOTO - VIDEO - PRO AUDIO Computer Software Ableton.........................................1036-1038 Arturia ...................................................1039 Antares .........................................1040-1044 Arkaos ....................................................1045 Bias ...............................................1046-1051 Bitheadz .......................................1052-1059 Bomb Factory ..............................1060-1063 Celemony ..............................................1064 Chicken Systems...................................1065 Eastwest/Quantum Leap ............1066-1069 IK Multimedia .............................1070-1078 Mackie/UA ...................................1079-1081 McDSP ..........................................1082-1085 Metric Halo..................................1086-1088 Native Instruments .....................1089-1103 Propellerhead ..............................1104-1108 Prosoniq .......................................1109-1111 Serato............................................1112-1113 Sonic Foundry .............................1114-1127 Spectrasonics ...............................1128-1130 Syntrillium ............................................1131 Tascam..........................................1132-1147 TC Works .....................................1148-1157 Ultimate Soundbank ..................1158-1159 Universal Audio ..........................1160-1161 Wave Mechanics..........................1162-1165 Waves ...........................................1166-1185