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Competition Rules and Regulations (Updated September 2019)
Competition Rules and Regulations (Updated September 2019) Category Guidelines: YOUTH - 15 and under ADULT - 16 and up Youth are open to perform in adult categories. Adults not permitted, other than as an accompanist, in youth categories. Categories include Fiddle, Banjo, Flatpick Guitar, Mandolin, Band, and Miscellaneous Instrumental Guidelines: 1. Fiddle - Contest is for traditional four string (five string is acceptable but not ideal), acoustic fiddles only. Standards such as “Listen to the Mockingbird,” “Orange Blossom Special,” or “Black Mountain Rag” are strongly discouraged. 2. Banjo - 4 and/or 5 string acoustic banjos okay. Standards such as “Foggy Mountain Breakdown,” “John Hardy,” and “Dueling Banjos” are strongly discouraged. 3. Guitar - Acoustic Steel String Guitars only 4. Mandolin - Acoustic Mandolins 5. Bass - Acoustic and/or electric basses allowed 6. Band - Must consist of a minimum 3 members. Band contestants are only allowed to compete in ONE band. Same song restrictions apply. 7. Miscellaneous - Any instrument not covered above, that is a part of the “bluegrass/old-time music family” - such as resonator guitar, finger-style guitar, spoons, jaw harp, mandola, bouzouki, accordion, other stringed instruments such as cello and viola. NO DRUMS NO SIX-STRING BANJO/GUITJOS Registration Guidelines 1. Contestants MUST sign in upon arrival at the judges table. 2. No contestant is allowed to register after a category is completed. 3. Judges are not permitted to enter or perform in any category. 4. Contestants must be ready and available to perform when their category is called. Failure to do so may result in disqualification. 5. Tuning, warm-up, rehearsal, or any other audible actions MUST be done away from the stage, active competitor, and convention audience. -
Gretsch Jim Dandy Flat Top 2-Color Sunburst Acoustic Guitar
Please Click The Product Title Link Below To See The Product If You Would Like To Purchase. Gretsch Jim Dandy Flat Top 2-Color Sunburst Acoustic Guitar Crackerjack quality for a steal! Faithful to the Gretsch® “Rex” parlor guitars of the 1930s, ’40s and ’50s, the G9500 Jim Dandy™ Flat Top parlor-style model embodies everything that was great about everyone’s first guitar. Everything and then some that is, because the G9500 is crafted with select guitar woods and is fully lined and braced for warm and pleasing tone, with a 24″ scale for endless hours of playing comfort. Perfect for both picked and fingerstyle playing, the Jim Dandy features a non-cutaway basswood body with X-bracing for a powerful and resonant voice, and a top-load walnut bridge with compensated synthetic bone saddle for even intonation along the length of the neck. Joining the body at the 12th fret, the “C”-shape nato neck hosts a comfortable, smooth-playing walnut fingerboard with vintage-style frets and pearloid dot inlays. Wrapped in a classic Two-Tone Sunburst finish, the G9500 also has 1950s-style vintage open-gear die-cast tuning machines, nickel hardware and single-ply white pickguard featuring a “G” graphic. Ideal for songwriting, practice or even as a travel guitar, this little wonder is great for beginners or seasoned pros alike. Comfortable to play, and full of woody vintage tone with full-sounding bass, the Jim Dandy will inspire hours of playing joy. Model Name: G9500 Jim Dandy™ 24″ Scale Flat Top Guitar, 2-Color Sunburst Model #: 2704000503 Series: Roots -
Flatpicking Guitar Magazine Index of Reviews
Flatpicking Guitar Magazine Index of Reviews All reviews of flatpicking CDs, DVDs, Videos, Books, Guitar Gear and Accessories, Guitars, and books that have appeared in Flatpicking Guitar Magazine are shown in this index. CDs (Listed Alphabetically by artists last name - except for European Gypsy Jazz CD reviews, which can all be found in Volume 6, Number 3, starting on page 72): Brandon Adams, Hardest Kind of Memories, Volume 12, Number 3, page 68 Dale Adkins (with Tacoma), Out of the Blue, Volume 1, Number 2, page 59 Dale Adkins (with Front Line), Mansions of Kings, Volume 7, Number 2, page 80 Steve Alexander, Acoustic Flatpick Guitar, Volume 12, Number 4, page 69 Travis Alltop, Two Different Worlds, Volume 3, Number 2, page 61 Matthew Arcara, Matthew Arcara, Volume 7, Number 2, page 74 Jef Autry, Bluegrass ‘98, Volume 2, Number 6, page 63 Jeff Autry, Foothills, Volume 3, Number 4, page 65 Butch Baldassari, New Classics for Bluegrass Mandolin, Volume 3, Number 3, page 67 William Bay: Acoustic Guitar Portraits, Volume 15, Number 6, page 65 Richard Bennett, Walking Down the Line, Volume 2, Number 2, page 58 Richard Bennett, A Long Lonesome Time, Volume 3, Number 2, page 64 Richard Bennett (with Auldridge and Gaudreau), This Old Town, Volume 4, Number 4, page 70 Richard Bennett (with Auldridge and Gaudreau), Blue Lonesome Wind, Volume 5, Number 6, page 75 Gonzalo Bergara, Portena Soledad, Volume 13, Number 2, page 67 Greg Blake with Jeff Scroggins & Colorado, Volume 17, Number 2, page 58 Norman Blake (with Tut Taylor), Flatpickin’ in the -
Jack Pearson
$6.00 Magazine Volume 16, Number 2 January/February 2012 Jack Pearson Al Smith Nick DiSebastian Schenk Guitars 1 Flatpicking Guitar Magazine January/February 2012 design by [email protected] by “I am very picky about the strings I use on my Kendrick Custom Guitar, and GHS gives me unbeatable tone in a very long lasting string.” GHS Corporation / 2813 Wilber Avenue / Battle Creek . Michigan 49015 / 800 388 4447 2 Flatpicking Guitar Magazine January/February 2012 Block off February 23 thru the 26th!! Get directions to the Hyatt Regency in Bellevue, WA. Make hotel & travel arrangements. Purchase tickets for shows and workshops! Practice Jamming!! Get new strings! Bookmark wintergrass.com for more information! Tell my friends about who’s performing: Ricky Skaggs & Kentucky Thunder Tim O’Brien, The Wilders, The Grascals, The Hillbenders, Anderson Family Bluegrass and more!!! Practice Jamming!!!!! wintergrass.com 3 Flatpicking Guitar Magazine January/February 2012 Feb 23-26th 4 Flatpicking Guitar Magazine January/February 2012 1 Flatpicking Guitar Magazine January/February 2012 CONTENTS Flatpicking FEATURES Jack Pearson & “Blackberry Pickin’” 6 Guitar Schenk Guitars 25 Flatpick Profile: Al Smith & “Take This Hammer” 30 Magazine CD Highlight: Nick DiSebastian: “Snowday” 58 The Nashville Number System: Part 2 63 Volume 16, Number 2 COLUMNS January/February 2012 Bluegrass Rhythm Guitar: Homer Haynes 15 Published bi-monthly by: Joe Carr High View Publications Beginner’s Page: “I Saw the Light” 18 P.O. Box 2160 Dan Huckabee Pulaski, VA 24301 -
Guitar Educator Resource Guide
GUITAR EDUCATOR RESOURCE GUIDE Introduction This guide is intended to assist precollege classroom guitar educators, studio guitar educators, curriculum administrators, and other stakeholders review the curricula, texts, materials, and supplements available and decide which are appropriate for their own students and educational setting. When considering a curriculum, resource, or text, it is important to consider standards in your own locale and district. For national, state, GFA, and professional standards, see the GFA website Education menu >> Education Standards. Contents Quick Reference Comprehensive Guitar Curricula for Classroom Use “Out-of-the-box” methods that include student text, teacher resources/materials, and a sequenced approach to multiple levels. These may also include ensemble and solo repertoire. Classroom Guitar Methods Methods for the classroom that include student text/materials only and/or for a single level General Guitar Methods Methods for general guitar instruction Graded Solo Repertoire Series Sequenced solo repertoire for individual student development. Online Guitar Education Publishers Online/digital publishers with a focus on educational content or application. General Guitar Publishers & Sheet Music Resources General publishers of guitar materials Guitar Educator’s Library Suggestions for reference materials from guitar educators and GFA Certified Schools Teaching Guitar Handbooks Professional Organizations and Professional Development for Guitar Educators Notes - Publisher Descriptions may be redacted for -
Made to Be Played
made to be played... CATALOG 2004 made to be played... Second To None Elitist Tak Matsumoto Les Paul Standard TakBurst Elitist Les Paul Custom Wine Red Elitist Les Paul ‘57 GoldTop Metallic Antique Gold Elitist Tak Matsumoto Elitist Les Paul Custom Les Paul Standard Tuners Grover Elitist Les Paul ‘57 GoldTop Tuners Green Keys by Gotoh Fingerboard Rosewood Tuners Grover Fingerboard Rosewood, Abalone Inlays Neck 1-pc Mahogany, 22 fret Fingerboard Rosewood Neck 1-pc Mahogany, 22 fret Neck Joint Set, 16th fret Neck 1-pc Mahogany, 22 fret Neck Joint Set, 16th fret Nut 1-11/16, Bone Neck Joint Set, 16th fret Nut 1-11/16, Bone Scale 24-3/4 Nut 1-11/16, Bone Scale 24-3/4 Top Book-Matched Maple Scale 24-3/4 Top Book-Matched Quilt-Maple Back Book-Matched Mahogany Top Hard Maple Back Book-Matched Mahogany Sides n/a Back Book-Matched Mahogany Sides n/a Rhythm PU 50SR (USA Humbucker) Sides n/a Rhythm PU Gibson Burstbucker-2 Treble PU 60ST (USA Humbucker) Rhythm PU 50SR (USA Humbucker) Treble PU Gibson Burstbucker-3 Controls 2-V, 2-T; 3-Way SW Treble PU 60ST (USA Humbucker) Controls 2-V, 2-T; 3-Way SW Hardware 24K Gold Controls 2-V, 2-T; 3-Way SW Hardware Nickel Finishes Ebony, Vintage White, Hardware Nickel Finishes TakBurst Wine Red Finishes Metallic Antique Gold Elitist Les Paul Custom Ebony Elitist Les Paul Standard Left-Handed Honeyburst Guitar One Elitist ‘61 SG Standard July 2003 Cherry Elitist Les Paul Custom Elitist Les Paul Standard LH Elitist ‘61 SG Standard Tuners Grover Tuners Grover Tuners Grover Fingerboard Rosewood Fingerboard Rosewood -
FW May-June 03.Qxd
IRISH COMICS • KLEZMER • NEW CHILDREN’S COLUMN FREE Volume 3 Number 5 September-October 2003 THE BI-MONTHLY NEWSPAPER ABOUT THE HAPPENINGS IN & AROUND THE GREATER LOS ANGELES FOLK COMMUNITY Tradition“Don’t you know that Folk Music is Disguisedillegal in Los Angeles?” — WARREN C ASEY of the Wicked Tinkers THE FOLK ART OF MASKS BY BROOKE ALBERTS hy do people all over the world end of the mourning period pro- make masks? Poke two eye-holes vided a cut-off for excessive sor- in a piece of paper, hold it up to row and allowed for the resump- your face, and let your voice tion of daily life. growl, “Who wants to know?” The small mask near the cen- The mask is already working its ter at the top of the wall is appar- W transformation, taking you out of ently a rendition of a Javanese yourself, whether assisting you in channeling this Wayang Topeng theater mask. It “other voice,” granting you a new persona to dram- portrays Panji, one of the most atize, or merely disguising you. In any case, the act famous characters in the dance of masking brings the participants and the audience theater of Java. The Panji story is told in a five Alban in Oaxaca. It represents Murcielago, a god (who are indeed the other participants) into an arena part dance cycle that takes Prince Panji through of night and death, also known as the bat god. where all concerned are willing to join in the mys- innocence and adolescence up through old age. -
THE 2020 GUITAR GUIDE UPCYCLING URBAN WOOD 2 Letters Social Email Us Circles Taylorguitars.Com/Contact Join the Taylor Community
THE 2020 GUITAR GUIDE UPCYCLING URBAN WOOD 2 www.taylorguitars.com Letters social Email us circles taylorguitars.com/contact Join the Taylor community Facebook: @taylorguitars to last, including wooden instruments, A Sweeter Sound nice acoustic guitar, I ran across Bob Instagram: @taylorguitars although they are more fragile. But the I was interested in the “Ask Bob” Taylor’s video about the Ebony Project @taylorespanol real essence of your article was how query about the effect on tone the size on YouTube. After seeing how environ- Twitter: @taylorguitars you reunited ebony with Buck Knives. of the soundhole has. A few months ago, mentally conscientious he is and how YouTube: taylorguitars That is just outstanding. Thank you for I attached an ES-Go pickup to my GS he incorporated that as a major part of great work and products. I’ve only been Mini, and as you are aware, the pickup Taylor Guitars’ philosophy (and prac- playing for six years, on a GS Mini, my covers a small part of the soundhole tice), I decided that the only question first guitar. And I’m fond of ebony! near the neck of the guitar. When play- was which Taylor guitar I liked best and Charlie Francisco, DVM ing the guitar acoustically (i.e., not could afford. The 414ce is outstanding through the pickup or amp), I have independent of all of this, but I did want noticed the tone is “sweeter” — there Bob to know that his environmental Deluxe Treatment is more high end and a slight reduction concerns and the fact that he is doing I’m the proud owner of an 810, 414 in bass. -
Taylor Guitars Wood & Steel Magazine
INSIDE THE WORLD OF TAYLOR GUITARS / VOLUME 74 winter 2013 THE 2013 GUITAR GUIDE The New Grand Orchestra Big & Balanced Koa 200s Find Your Fit All About Shapes, Woods & Sounds Your Player Profile Sustainable Forestry String-Changing Tips Taylor Around the World 2 www.taylorguitars.com 3 Letters Volume 74 Winter 2013 Find us on Facebook. Subscribe on YouTube. Follow us on Twitter: @taylorguitars the eye of the hurricane passed over around the block, so to speak. We lor sales managers Michael Lille and the beauty and the fullness of the us and spared us the non-stop winds were overwhelmed by the knowledge, Aaron Dablow, and product specialist sound coming from such a small guitar. and torrential rain that afflicted the sense of humor, and musical abilities of Marc Seal] played three different Taylor I knew I had to have one. areas farther north. We did, however, both people putting on the show [Ed. guitar shapes with different woods My wife and I do a great deal of suffer two high-tide storm surges that Note: Taylor district sales manager together, it was awesome to hear the traveling. I realized that the Mini would reached record heights. We were with- Mike Ausman and product specialist differences. The guys all had fantastic make a truly great travel guitar. The out heat or electricity for four days, and Wayne Johnson]. We are both retired attitudes, great senses of humor, and a Road Show was on a Tuesday, and were banned from returning home for teachers and have hundreds if not wonderful dedication to Taylor Guitars. -
EDDIE LANG – the FORMATIVE YEARS, 1902-1925 by Nick Dellow
167 Eddie Lang Part One_Layout 1 05/09/2013 12:07 Page 1 EDDIE LANG – THE FORMATIVE YEARS, 1902-1925 By Nick Dellow Jazz musicians who live short lives often leave the deepest impressions. There is something about their immutable youth, echoed through the sound of distant recordings, that encapsulates the spirit of jazz. One thinks of Bix and Bubber, Murray and Teschemacher, and Lang and Christian. Of these, guitarist Eddie Lang left the largest recorded testament, spanning jazz, blues and popular music generally. Whether his guitar was imparting a rich chordal support for other instrumentalists, driving jazz and dance bands with rhythmic propulsion, or providing a sensitive backing for a variety of singers, Lang’s influence was pervasive. Django Reinhardt once said that Eddie Lang helped him to find his own way in music. Like his contemporary Bix Beiderbecke, Lang’s defining role as a musician was acknowledged early on in his career, and has been venerated ever since. As is often the case with musicians who are prolific, there are gaps in our knowledge. This article attempts to address some of these, with particular attention being paid to Lang’s early career. In the second part of the article the Mound City Blue Blowers’ visit to London in 1925 is discussed in detail, and possible recordings that Lang made during the band’s engagement at the Piccadilly Hotel are outlined and assessed. More generally, Lang’s importance as a guitarist is set in context against the background of the guitar’s role in early jazz and dance music. -
Medium of Performance Thesaurus for Music
A clarinet (soprano) albogue tubes in a frame. USE clarinet BT double reed instrument UF kechruk a-jaeng alghōzā BT xylophone USE ajaeng USE algōjā anklung (rattle) accordeon alg̲hozah USE angklung (rattle) USE accordion USE algōjā antara accordion algōjā USE panpipes UF accordeon A pair of end-blown flutes played simultaneously, anzad garmon widespread in the Indian subcontinent. USE imzad piano accordion UF alghōzā anzhad BT free reed instrument alg̲hozah USE imzad NT button-key accordion algōzā Appalachian dulcimer lõõtspill bīnõn UF American dulcimer accordion band do nally Appalachian mountain dulcimer An ensemble consisting of two or more accordions, jorhi dulcimer, American with or without percussion and other instruments. jorī dulcimer, Appalachian UF accordion orchestra ngoze dulcimer, Kentucky BT instrumental ensemble pāvā dulcimer, lap accordion orchestra pāwā dulcimer, mountain USE accordion band satāra dulcimer, plucked acoustic bass guitar BT duct flute Kentucky dulcimer UF bass guitar, acoustic algōzā mountain dulcimer folk bass guitar USE algōjā lap dulcimer BT guitar Almglocke plucked dulcimer acoustic guitar USE cowbell BT plucked string instrument USE guitar alpenhorn zither acoustic guitar, electric USE alphorn Appalachian mountain dulcimer USE electric guitar alphorn USE Appalachian dulcimer actor UF alpenhorn arame, viola da An actor in a non-singing role who is explicitly alpine horn USE viola d'arame required for the performance of a musical BT natural horn composition that is not in a traditionally dramatic arará form. alpine horn A drum constructed by the Arará people of Cuba. BT performer USE alphorn BT drum adufo alto (singer) arched-top guitar USE tambourine USE alto voice USE guitar aenas alto clarinet archicembalo An alto member of the clarinet family that is USE arcicembalo USE launeddas associated with Western art music and is normally aeolian harp pitched in E♭. -
2013 Epiphone Catalog.Pdf
Epiphone Guitar Co. All Epiphone products are guaranteed and backed by Gibson Musical Instruments 24/7 Customer Service A part of the Gibson family of brands at 1-800-444-2766 - Toll-Free USA only. 1510 Elm Hill Pike, Suite 212 In Europe at 00+800-444-2766-1. Nashville, Tennessee In China at 1-800-820-8841. 37210 USA IM Gibson Customer Service at www.epiphone.com [email protected] See warranty card for details or visit www.epiphone.com. In order to continually improve the quality and/or performance of our instruments Guarantee varies country to country. and/or to make use of the best available components, Epiphone reserves the right Check your authorized Epiphone retailer for details. to change prices and specifications without notice. E-CAT13 CATALOG 2013 The Epiphone Story expand as his business and reputation for quality work grew. The family acquired the "stock, goodwill, and modern machinery" of the Epiphone is one of America's oldest and most revered instrument makers. Since 1873, Farovan Company instrument plant in Long Island and incorporat- Epiphone has made instruments for every style of popular music and in 2013 will celebrate its ed. Epi gave the now growing business a new name--Epiphone. 140th anniversary. “Epiphone” referenced not only his own name, but the Greek word The name Epiphone evokes both history and the spirit of invention. The “House of for sound--phone. It was also an echo of the Greek word epipho- Stathopoulo” has played a central role in every great musical era from the mandolin craze of the nous, meaning one sound on another, the son building on the early 1900s to jazz age guitars of the 1920s; from swing era archtops through post-war pop, dreams of the father.