The Art of Marimba Articulation: a Guide for Composers, Conductors, And
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The Percussion Family 1 Table of Contents
THE CLEVELAND ORCHESTRA WHAT IS AN ORCHESTRA? Student Learning Lab for The Percussion Family 1 Table of Contents PART 1: Let’s Meet the Percussion Family ...................... 3 PART 2: Let’s Listen to Nagoya Marimbas ...................... 6 PART 3: Music Learning Lab ................................................ 8 2 PART 1: Let’s Meet the Percussion Family An orchestra consists of musicians organized by instrument “family” groups. The four instrument families are: strings, woodwinds, brass and percussion. Today we are going to explore the percussion family. Get your tapping fingers and toes ready! The percussion family includes all of the instruments that are “struck” in some way. We have no official records of when humans first used percussion instruments, but from ancient times, drums have been used for tribal dances and for communications of all kinds. Today, there are more instruments in the percussion family than in any other. They can be grouped into two types: 1. Percussion instruments that make just one pitch. These include: Snare drum, bass drum, cymbals, tambourine, triangle, wood block, gong, maracas and castanets Triangle Castanets Tambourine Snare Drum Wood Block Gong Maracas Bass Drum Cymbals 3 2. Percussion instruments that play different pitches, even a melody. These include: Kettle drums (also called timpani), the xylophone (and marimba), orchestra bells, the celesta and the piano Piano Celesta Orchestra Bells Xylophone Kettle Drum How percussion instruments work There are several ways to get a percussion instrument to make a sound. You can strike some percussion instruments with a stick or mallet (snare drum, bass drum, kettle drum, triangle, xylophone); or with your hand (tambourine). -
7Th GRADE ORCHESTRA 7Th Grade Orchestra Is Offered to All Students Who Have Completed Fairfield Orchestra Skill Level III
7th GRADE ORCHESTRA 7th grade Orchestra is offered to all students who have completed Fairfield Orchestra Skill Level III. Instruction emphasizes instrumental techniques, ensemble rehearsal and performance techniques, and music reading. All orchestra students will receive a small group homogenous lesson once each week. Lessons will take place during the school day on a rotating pull-out basis with the orchestra director or FPS music teacher specializing in orchestra. Recommended lesson size is no more than 6 students. Homework for this class includes regular, consistent practice on assigned lesson and ensemble music. Participation in the Winter and Spring evening curricular concerts is expected and integral for successful completion of this class. 7th grade orchestra is a full year class that meets three times per week. Students electing Orchestra/Chorus will rehearse once per week in Chorus, and twice per week with an Orchestra class. Course Overview All students in the Fairfield Orchestra Program progress Course Goals Artistic Processes through an Ensemble Sequence and instrument specific Students will have the ability to understand • Create Skill Levels. and engage with music in a number of • Perform different ways, including the creative, • Respond Fairfield’s Orchestra Program Ensemble Sequence responsive and performative artistic • Connect processes. They will have the ability to Grade/Course Instrument Ensemble Sequence perform music in a manner that illustrates Anchor Standards Skill Level Marker careful preparation and reflects an • Select, analyze, and 4th Grade Novice understanding and interpretation of the I interpret artistic work for Orchestra selection. They will be musically literate. presentation. 5th Grade Novice II • Develop and refine artistic Orchestra Students will be artistically literate: they will techniques and work for th 6 Grade Intermediate have the knowledge and understanding presentation. -
EW Hollywood Orchestra Opus Edition User Manual
USER MANUAL 1.0.6 < CONTENTS HOLLYWOOD ORCHESTRA OPUS EDITION INFORMATION The information in this document is subject to change without notice and does not represent a commitment on the part of East West Sounds, Inc. The software and sounds described in this document are subject to License Agreements and may not be copied to other media. No part of this publication may be copied, reproduced or otherwise transmitted or recorded, for any purpose, without prior written permission by East West Sounds, Inc. All product and company names are ™ or ® trademarks of their respective owners. Solid State Logic (SSL) Channel Strip, Transient Shaper, and Stereo Compressor licensed from Solid State Logic. SSL and Solid State Logic are registered trademarks of Red Lion 49 Ltd. © East West Sounds, Inc., 2021. All rights reserved. East West Sounds, Inc. 6000 Sunset Blvd. Hollywood, CA 90028 USA 1-323-957-6969 voice 1-323-957-6966 fax For questions about licensing of products: [email protected] For more general information about products: [email protected] For technical support for products: http://www.soundsonline.com/Support < CONTENTS HOLLYWOOD ORCHESTRA OPUS EDITION CREDITS PRODUCERS Doug Rogers, Nick Phoenix, Thomas Bergersen SOUND ENGINEER Shawn Murphy ENGINEERING ASSISTANCE Jeremy Miller, Ken Sluiter, Bo Bodnar PRODUCTION COORDINATORS Doug Rogers, Blake Rogers, Rhys Moody PROGRAMMING / SOUND DESIGN Justin Harris, Jason Coffman, Doug Rogers, Nick Phoenix SCRIPTING Wolfgang Schneider, Thomas Bergersen, Klaus Voltmer, Patrick Stinson -
Developing a Four-Mallet Marimba Technique Featuring the Alternation
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Developing a four-mallet marimba technique featuring the alternation of mallets in each hand for linear passages and the application of this technique to transcriptions of selected keyboard works by J.S. Bach Thomas Allen Zirkle Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Zirkle, Thomas Allen, "Developing a four-mallet marimba technique featuring the alternation of mallets in each hand for linear passages and the application of this technique to transcriptions of selected keyboard works by J.S. Bach" (2003). LSU Doctoral Dissertations. 3099. https://digitalcommons.lsu.edu/gradschool_dissertations/3099 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. DEVELOPING A FOUR-MALLET MARIMBA TECHNIQUE FEATURING THE ALTERNATION OF MALLETS IN EACH HAND FOR LINEAR PASSAGES AND THE APPLICATION OF THIS TECHNIQUE TO TRANSCRIPTIONS OF SELECTED KEYBOARD WORKS BY J.S. BACH A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The Department of Music by Thomas Allen Zirkle B.S., Ball State University, 1993 M.M., Southern Illinois University, 1995 December 2003 Dedication This paper is dedicated to Dr. -
Beethoven Op. 131 Manuscript Markings NK 20170701.Pages
A paper by Nicholas Kitchen about manuscript markings in Beethoven in general and in particular about their use in Op. 131, expanded from a paper presented for the Boston University Beethoven Institute in April 2017 I am honored to share with you today some of the exciting surprises that have come from rehearsing and performing directly from pdf files of Beethoven's manuscripts. The Beethoven editions I first encountered (at least for quartets) were the Joachim- Moser editions, which I now see as lovingly mauled editorial efforts. Regardless of any editions, I heard beautiful performances of Beethoven's music, treasures in my memory that continually inspire my current endeavors to try to bring the beauty of his compositions to life. But the particular beauty of Beethoven quickly demands from us the realization that the details of our interface with the markings in his music DO matter a great deal, and that they mattered a great deal to Beethoven himself. Studying at Curtis, I witnessed the transition to Henle Urtext as the trusted source of learning about Beethoven. My single most inspiring class was one led by my teacher Szymon Goldberg, where all of his students had our Henle piano scores of all ten Beethoven Sonatas (we also consulted Joachim's solutions to certain issues) and all together we went through all ten sonatas multiple times, with all of us taking turns performing different Sonatas. Mr. Goldberg made vivid to us the concept that !1 of 92! Beethoven's markings were living instructions from one virtuoso performer to another, and he had a nice saying: "The composer wants the performance to succeed even MORE than you do". -
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. -
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. -
Virtual Musical Field Trip with Maestro Andrew Crust
YOUR PASSPORT TO A VIRTUAL MUSICAL FIELD TRIP WITH MAESTRO ANDREW CRUST Premier Education Partner Za The Conductor Today, you met Andrew Crust, the Vancouver Symphony Orchestra’s Assistant Conductor. He joined the VSO this season in September of 2019. He grew up in Kansas City, and his main instrument is the trumpet. He studied music education and conducting, and has worked with orchestras in Canada, the United States, Italy, Germany, the Czech Republic, Chile, and many other exotic places. The conductor keeps the orchestra in time and together. The conductor serves as a messenger for the composer. It is their responsibility to understand the music and convey it through movements so clearly that the musicians in the orchestra understand it perfectly. Those musicians can then send a unified vision of the music out to the audience. Conductors usually beat time with their right hand. This leaves their left hand free to show the various instruments when they have entries (when they start playing) or to show them to play louder or softer. Most conductors have a stick called a “baton”. It makes it easier for people at the back of large orchestras or choirs to see the beat. Other conductors prefer not to use a baton. A conductor stands on a small platform called a “rostrum”. To be a good conductor is not easy. It is not just a question of giving a steady beat. A good conductor has to know the music extremely well so that they can hear any wrong notes. They need to be able to imagine exactly the sound they want the orchestra to make. -
Basic Dynamic Markings
Basic Dynamic Markings • ppp pianississimo "very, very soft" • pp pianissimo "very soft" • p piano "soft" • mp mezzo-piano "moderately soft" • mf mezzo-forte "moderately loud" • f forte "loud" • ff fortissimo "very loud" • fff fortississimo "very, very loud" • sfz sforzando “fierce accent” • < crescendo “becoming louder” • > diminuendo “becoming softer” Basic Anticipation Markings Staccato This indicates the musician should play the note shorter than notated, usually half the value, the rest of the metric value is then silent. Staccato marks may appear on notes of any value, shortening their performed duration without speeding the music itself. Spiccato Indicates a longer silence after the note (as described above), making the note very short. Usually applied to quarter notes or shorter. (In the past, this marking’s meaning was more ambiguous: it sometimes was used interchangeably with staccato, and sometimes indicated an accent and not staccato. These usages are now almost defunct, but still appear in some scores.) In string instruments this indicates a bowing technique in which the bow bounces lightly upon the string. Accent Play the note louder, or with a harder attack than surrounding unaccented notes. May appear on notes of any duration. Tenuto This symbol indicates play the note at its full value, or slightly longer. It can also indicate a slight dynamic emphasis or be combined with a staccato dot to indicate a slight detachment. Marcato Play the note somewhat louder or more forcefully than a note with a regular accent mark (open horizontal wedge). In organ notation, this means play a pedal note with the toe. Above the note, use the right foot; below the note, use the left foot. -
Articulation from Wikipedia, the Free Encyclopedia
Articulation From Wikipedia, the free encyclopedia Examples of Articulations: staccato, staccatissimo,martellato, marcato, tenuto. In music, articulation refers to the musical performance technique that affects the transition or continuity on a single note, or between multiple notes or sounds. Types of articulations There are many types of articulation, each with a different effect on how the note is played. In music notation articulation marks include the slur, phrase mark, staccato, staccatissimo, accent, sforzando, rinforzando, and legato. A different symbol, placed above or below the note (depending on its position on the staff), represents each articulation. Tenuto Hold the note in question its full length (or longer, with slight rubato), or play the note slightly louder. Marcato Indicates a short note, long chord, or medium passage to be played louder or more forcefully than surrounding music. Staccato Signifies a note of shortened duration Legato Indicates musical notes are to be played or sung smoothly and connected. Martelato Hammered or strongly marked Compound articulations[edit] Occasionally, articulations can be combined to create stylistically or technically correct sounds. For example, when staccato marks are combined with a slur, the result is portato, also known as articulated legato. Tenuto markings under a slur are called (for bowed strings) hook bows. This name is also less commonly applied to staccato or martellato (martelé) markings. Apagados (from the Spanish verb apagar, "to mute") refers to notes that are played dampened or "muted," without sustain. The term is written above or below the notes with a dotted or dashed line drawn to the end of the group of notes that are to be played dampened. -
Pipa by Moshe Denburg.Pdf
Pipa • Pipa [ Picture of Pipa ] Description A pear shaped lute with 4 strings and 19 to 30 frets, it was introduced into China in the 4th century AD. The Pipa has become a prominent Chinese instrument used for instrumental music as well as accompaniment to a variety of song genres. It has a ringing ('bass-banjo' like) sound which articulates melodies and rhythms wonderfully and is capable of a wide variety of techniques and ornaments. Tuning The pipa is tuned, from highest (string #1) to lowest (string #4): a - e - d - A. In piano notation these notes correspond to: A37 - E 32 - D30 - A25 (where A37 is the A below middle C). Scordatura As with many stringed instruments, scordatura may be possible, but one needs to consult with the musician about it. Use of a capo is not part of the pipa tradition, though one may inquire as to its efficacy. Pipa Notation One can utilize western notation or Chinese. If western notation is utilized, many, if not all, Chinese musicians will annotate the music in Chinese notation, since this is their first choice. It may work well for the composer to notate in the western 5 line staff and add the Chinese numbers to it for them. This may be laborious, and it is not necessary for Chinese musicians, who are quite adept at both systems. In western notation one writes for the Pipa at pitch, utilizing the bass and treble clefs. In Chinese notation one utilizes the French Chevé number system (see entry: Chinese Notation). In traditional pipa notation there are many symbols that are utilized to call for specific techniques. -
Composers' Bridge!
Composers’ Bridge Workbook Contents Notation Orchestration Graphic notation 4 Orchestral families 43 My graphic notation 8 Winds 45 Clefs 9 Brass 50 Percussion 53 Note lengths Strings 54 Musical equations 10 String instrument special techniques 59 Rhythm Voice: text setting 61 My rhythm 12 Voice: timbre 67 Rhythmic dictation 13 Tips for writing for voice 68 Record a rhythm and notate it 15 Ideas for instruments 70 Rhythm salad 16 Discovering instruments Rhythm fun 17 from around the world 71 Pitch Articulation and dynamics Pitch-shape game 19 Articulation 72 Name the pitches – part one 20 Dynamics 73 Name the pitches – part two 21 Score reading Accidentals Muddling through your music 74 Piano key activity 22 Accidental practice 24 Making scores and parts Enharmonics 25 The score 78 Parts 78 Intervals Common notational errors Fantasy intervals 26 and how to catch them 79 Natural half steps 27 Program notes 80 Interval number 28 Score template 82 Interval quality 29 Interval quality identification 30 Form Interval quality practice 32 Form analysis 84 Melody Rehearsal and concert My melody 33 Presenting your music in front Emotion melodies 34 of an audience 85 Listening to melodies 36 Working with performers 87 Variation and development Using the computer Things you can do with a Computer notation: Noteflight 89 musical idea 37 Sound exploration Harmony My favorite sounds 92 Harmony basics 39 Music in words and sentences 93 Ear fantasy 40 Word painting 95 Found sound improvisation 96 Counterpoint Found sound composition 97 This way and that 41 Listening journal 98 Chord game 42 Glossary 99 Welcome Dear Student and family Welcome to the Composers' Bridge! The fact that you are being given this book means that we already value you as a composer and a creative artist-in-training.