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Bassic Fundamentals Course Take The Next Step On Your Bass Journey A Massive 10 Hours Of Lessons Covering Every Area Of Playing “Every bass player starts with the same goal - a solid foundation Building a strong, all-round set of bass skills can be hard work, especially when there are holes in that foundation. To avoid any pit falls you need a structured study program with a clear, simple road map covering every aspect of playing. That can be hard to find! To remedy this problem, I created Bassic Fundamentals, a huge course covering the basics of every essential area from technique to bass line creation to music theory, sight reading, bass setup, effects and much, much more. It really is a one size fits all course. Bassic Fundamentals will provide you with the skills necessary to easily progress and develop your bass playing in any area or style you desire – always building on a strong core and foundation” Mark J Smith (Creator of Talkingbass) “I took the Basic Fundamentals course shortly after picking up the instrument. Nine months after picking up the instrument and 6 months after starting the course, I went to an audition.” Mark Mahoney – USA “I play in church most weeks and wouldn’t have got anywhere near the level I’m at without these lessons.” Rob P. – Australia “After about six months of getting nowhere, I bought the Bassic Fundamentals course. My playing has been turbo charged.” Matthew Ogilvie – Western Canada “Bassic Fundamentals gave me a good starting point for practising different techniques.” Alexander Fuchs – Germany Bassic Fundamentals Course Breakdown Module 1: The Core Foundation Lesson 1-1 Course Introduction In this lesson we look at the course ahead and the kind of topics we’ll be covering Lesson 1-2 Practice Tips & Warmups Here we look at how to create a simple practice routine and work through some basic warmup exercises both on and away from the instrument Lesson 1-3 Tuning In this lesson we look at several different ways of tuning the bass: Tuning to an open string; Tuning with harmonics; Using an electronic tuner. -
Years 7 and 8 Music Overview
Years 7 and 8 Music Overview Term Year 7 Year 8 Find Your Voice Blues Baseline Assessment Baseline Assessment 1. Theory and Listening test 1. Theory and Listening Test 2. Performance 2. Performance DR P SMITH: RHYTHM DR P SMITH: MELODY & STRUCTURE Rhythm and note duration Notation (treble and bass clefs) Notation Keyboard notes Expression Structure - 12 Bar Blues chords sequence Autumn 1 Voice types Walking bassline Melody – repetition/riff/Blues scale Performing, Improvising and Singing Improvisation / solo Unison, harmony, a capella Harmony - Blues chords incl. 7th extensions Beatboxing, warm-ups Shuffle beat 4 chord song – musical futures Ensemble skills Performing and Singing 12 Bar Blues Keyboard Skills Hit the Road Jack In the Mood DR P SMITH: PITCH Pitch and notation Improvising and Composing Keyboard notes Own Blues arrangement including score Accidentals Lyrics Dynamics (expression) Listening and Appraising Notation test Work songs Autumn 2 Blues Performing and Singing Rock N Roll Progressive keyboard skills and pieces (solo and paired) Christmas Carols (group and class) 1 Japanese Folk Music Film Music DR P SMITH: MELODY DR P SMITH: HARMONY Melody Tonality - major/ minor Dynamics (expression) Harmony - chords: major, minor, diminished Timbre/Instrumentation Dissonance - tritone (tension) Structure Trill (melodic decoration) Notation (pitch and rhythm) Melody, mood Leitmotifs Performing and Singing Structure Sakura; keyboard and vocals Music spotting Solo and ensembles skills Spring -
The Infinisphere: Expanding Existing Electroacoustic Sound Principles by Means of an Original Design Application Specifically for Trombone
THE INFINISPHERE: EXPANDING EXISTING ELECTROACOUSTIC SOUND PRINCIPLES BY MEANS OF AN ORIGINAL DESIGN APPLICATION SPECIFICALLY FOR TROMBONE BY JUSTIN PALMER MCADARA SCHOLARLY ESSAY Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music with a concentration in Jazz Performance in the Graduate College of the University of Illinois at Urbana-Champaign, 2020 Urbana, Illinois Doctoral Committee: Professor James Pugh, Chair and Director of Research Assistant Professor Eli Fieldsteel Professor Erik Lund Professor Charles McNeill DMA Option 2 Thesis and Option 3 Scholarly Essay DEPOSIT COVERSHEET University of Illinois Music and Performing Arts Library Date: July 10, 2020 DMA Option (circle): 2 [thesis] or 3 [scholarly essay] Your full name: Justin Palmer McAdara Full title of Thesis or Essay: The InfiniSphere: Expanding Existing Electroacoustic Sound Principles by Means of an Original Design Application Specifically for Trombone Keywords (4-8 recommended) Please supply a minimum of 4 keywords. Keywords are broad terms that relate to your thesis and allow readers to find your work through search engines. When choosing keywords consider: composer names, performers, composition names, instruments, era of study (Baroque, Classical, Romantic, etc.), theory, analysis. You can use important words from the title of your paper or abstract, but use additional terms as needed. 1. Trombone 2. Electroacoustic 3. Electro-acoustic 4. Electric Trombone 5. Sound Sculpture 6. InfiniSphere 7. Effects 8. Electronic If you need help constructing your keywords, please contact Dr. Bashford, Director of Graduate Studies. Information about your advisors, department, and your abstract will be taken from the thesis/essay and the departmental coversheet. -
Bass Pedals Manual V1.1 (29/08/2012) Introduction
Bass Pedals Manual v1.1 (29/08/2012) Introduction Thank you for choosing Bass Pedals, our virtual analogue bass synthesizer optimized for Native Instruments’ Kontakt 4 / 5 sampler. Bass Pedals is a powerful instrument capable of creating a wide range of huge analogue sounding synth bass tones. We hope you have fun exploring Bass Pedals capabilities, and enjoy creating new sounds with it as much as we have enjoyed developing the instrument itself. This manual is specifically written for the Kontakt 4 / 5 version of Bass Pedals which makes extensive use of Kontakt's advanced script programming and GUI integration. Bass Pedals the Story Bass Pedals is inspired by the sought-after Moog Taurus Mk1 bass synthesizer from the mid seventies. The original Moog Taurus was a basic, but unique and powerful sounding monophonic analogue bass synthesizer with 2 VCO's (sawtooth waveforms), a typical (great sounding) Moog 24db Low pass filter with basic envelope controls, a VCA and 13 large pedals which were intended to be played by the feet. To fully capture the enormous and highly praised ‘Taurus sound’ we heavily multi-sampled an original Taurus MK1’s raw oscillator waveforms as well as 40 heavily multi-sampled preset patches, the latter being designed using the Taurus’s synthesis parameters. All waveforms and preset patches have been carefully recorded with 3 x round robin sample variations to help capture the imperfections and quirkiness of the original instrument. All samples were recorded through an API pre-amp and high end converters. Some patches have been further processed through an Empirical Labs Fatso and Pultec Style analogue EQ. -
Gr. 4 to 8 Study Guide
Toronto Symphony TS Orchestra Gr. 4 to 8 Study Guide Conductors for the Toronto Symphony Orchestra School Concerts are generously supported by Mrs. Gert Wharton. The Toronto Symphony Orchestra’s School Concerts are generously supported by The William Birchall Foundation and an anonymous donor. Click on top right of pages to return to the table of contents! Table of Contents Concert Overview Concert Preparation Program Notes 3 4 - 6 7 - 11 Lesson Plans Artist Biographies MusicalGlossary 12 - 38 39 - 42 43 - 44 Instruments in Musicians Teacher & Student the Orchestra of the TSO Evaluation Forms 45 - 56 57 - 58 59 - 60 The Toronto Symphony Orchestra gratefully acknowledges Pierre Rivard & Elizabeth Hanson for preparing the lesson plans included in this guide - 2 - Concert Overview No two performances will be the same Play It by Ear! in this laugh-out-loud interactive February 26-28, 2019 concert about improvisation! Featuring Second City alumni, and hosted by Suitable for grades 4–8 Kevin Frank, this delightfully funny show demonstrates improvisatory techniques Simon Rivard, Resident Conductor and includes performances of orchestral Kevin Frank, host works that were created through Second City Alumni, actors improvisation. Each concert promises to Talisa Blackman, piano be one of a kind! Co-production with the National Arts Centre Orchestra Program to include excerpts from*: • Mozart: Overture to The Marriage of Figaro • Rimsky-Korsakov: Scheherazade, Op. 35, Mvt. 2 (Excerpt) • Copland: Variations on a Shaker Melody • Beethoven: Symphony No. 3, Mvt. 4 (Excerpt) • Holst: St. Pauls Suite, Mvt. 4 *Program subject to change - 3 - Concert Preparation Let's Get Ready! Your class is coming to Roy Thomson Hall to see and hear the Toronto Symphony Orchestra! Here are some suggestions of what to do before, during, and after the performance. -
Using Ketron Modules with Guitars
USING KETRON MODULES WITH GUITARS Midi Guitars have been around for ages and guitar players have found ways to catch up with their keyboard counterparts in being able to have fun playing different sounds using drum machines and synthesizers. Many have however resorted to using Midifiles and backing tracks (making folks think they are ‘DJ’s now’ because it has been a challenge for them to have a device which they can perform with and which follows them as though they were playing with a live band … until now. The KETRON SD90 (SD9 & SD60), SD40, Midjay Pro & AUDYA 4 and even the older units such as the SD3, XD3, X4 and MS40 (referred to as the module from here on) can be set up to be controlled by Guitar players in various ways, such that the backing tracks FOLLOW YOU, meaning you don’t have to follow a midifile or drum machine or karaoke just to sound good and full. You can choose to use your feet to change the chords (using bass pedals such as the KETRON K8 Pedal board) or simply set up the machine to recognize the chords you play (PIANIST AND GUITARIST mode described on page 68 of the SD9/SD60/SD90 manual) which allows you to simply play and focus on your performance – not your feet. Either way, you are now in full control of the LIVE backing tracks meaning you can for example keep playing a tune, should you reach the end and the audience decide to start dancing, or quickly go into another tune and keep your audience on the dance floor. -
The Composer's Guide to the Tuba
THE COMPOSER’S GUIDE TO THE TUBA: CREATING A NEW RESOURCE ON THE CAPABILITIES OF THE TUBA FAMILY Aaron Michael Hynds A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS August 2019 Committee: David Saltzman, Advisor Marco Nardone Graduate Faculty Representative Mikel Kuehn Andrew Pelletier © 2019 Aaron Michael Hynds All Rights Reserved iii ABSTRACT David Saltzman, Advisor The solo repertoire of the tuba and euphonium has grown exponentially since the middle of the 20th century, due in large part to the pioneering work of several artist-performers on those instruments. These performers sought out and collaborated directly with composers, helping to produce works that sensibly and musically used the tuba and euphonium. However, not every composer who wishes to write for the tuba and euphonium has access to world-class tubists and euphonists, and the body of available literature concerning the capabilities of the tuba family is both small in number and lacking in comprehensiveness. This document seeks to remedy this situation by producing a comprehensive and accessible guide on the capabilities of the tuba family. An analysis of the currently-available materials concerning the tuba family will give direction on the structure and content of this new guide, as will the dissemination of a survey to the North American composition community. The end result, the Composer’s Guide to the Tuba, is a practical, accessible, and composer-centric guide to the modern capabilities of the tuba family of instruments. iv To Sara and Dad, who both kept me going with their never-ending love. -
2017 Catalog
HOW IT ALL STARTED In 1989, Andrew Barta launched Tech 21 in midtown Manhattan and introduced his unique invention to the world -- the SansAmp™. It originally began 10 years earlier as something he simply wanted for his own personal use. As a performing musician with SansAmp Bass DI/Bass Driver DI (‘92) an electronics background, and whose “day job” was repairing, modifying and customizing amplifiers, Andrew had the expertise -- and the determination -- to make his vision a reality. THE ANALOG SUPREMACY Andrew Barta’s proprietary technology stands alone in the analog domain, a domain to which he remains loyal for several reasons. Ironically, Andrew never intended to become a manufacturer. According to Andrew, “Overall, I think analog is much warmer, more organic and more responsive. There’s also the issue of clarity. At He wanted to sell his technology to a major company and continue extreme settings, digital tends to produce more “artifacts” (garbles) and unnatural noise in the background. So, in turn, this needs his quest as a musician. But none of them understood the potential and how much impact the to be reduced by artificial means such as a noise gate, which I am not fond of. I also prefer analog because there’s no latency.” SansAmp would eventually have. Unable to abandon his idea, Andrew set out on his own. Although this kind of product had never before existed, it took a surprisingly short amount of time to gain The SansAmp technology captures the warm, rich, natural tones of the most sought-after tube amplifiers. Within the parameters acceptance from players. -
Soundgas Stock List
e THE SOUNDGAS LIST May 2021 We don't have prices for all the incoming items: in many cases it’s impossible to determine price before assessment, servicing and testing has taken place. As-is: we need to clear our service backlog so are open to offers on unserviced items. We hope that you like the new list and welcome feedback: this is very much a work in progress. “Your list is one of the best, it really is. I just want everything on it.” - Pete Townshend "I’m on the list, thanks. It’s like crack …” - Michael Price All items are serviced and in full working order (and covered by our guarantee) unless stated otherwise. New arrivals highlighted in yellow Prices (where quoted) are in £GBP and exclude delivery. Debit/Credit Card and Paypal payments may incur a surcharge on high value items. *VAT (Sales Tax): Customers outside of the UK the pay the tax-free price shown in the first column where applicable. All prices in the first column show standard VAT-exclusive prices; if the second column has the same price, then there’s no reclaimable VAT on the item. SECTION GUIDE STATUS KEY 1. ECHOES AND EFFECTS 2. RECORDING GEAR: MIXERS - PRES - EQs - COMPRESSORS ETC. Listed now on the Soundgas website, click the link to go to the listing Listed 3. SYNTHS - KEYS - DRUM MACHINES - SAMPLERS Arrived or on its way, yet to be listed. Please enquire. Enquire 4. EFFECT PEDALS Reserved for our studio or further investigation required: not available. On Hold 5. VALVE/TUBE AMPS Unavailable for purchase, but we want them! Wanted! 6. -
Concert Performer Series Digital Piano Owner’S Manual
Concert Performer Series Digital Piano Owner’s Manual Model: CP205/CP185 All descriptions and specifications in this manual are subject to change without notice. II Important Safety Instructions SAVE THESE INSTRUCTIONS INSTRUCTIONS PERTAINING TO A RISK OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS WARNING Examples of Picture Symbols TO REDUCE THE RISK OF CAUTION FIRE OR ELECTRIC denotes that care should be taken. RISK OF ELECTRIC SHOCK SHOCK, DO NOT EXPOSE The example instructs the user to take care DO NOT OPEN THIS PRODUCT TO RAIN not to allow fingers to be trapped. OR MOISTURE. denotes a prohibited operation. The example instructs that disassembly of AVIS : RISQUE DE CHOC ELECTRIQUE - NE PAS OUVRIR. the product is prohibited. TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE COVER (OR BACK). denotes an operation that should be NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL. carried out. The lighting flash with arrowhead symbol, within The example instructs the user to remove the an equilateral triangle, is intended to alert the user The exclamation point within an equilateral triangle to the presence of uninsulated "dangerous voltage" is intended to alert the user to the presence of power cord plug from the AC outlet. within the product's enclosure that may be of important operating and maintenance (servicing) sufficient magnitude to constitute a risk of electric instructions in the leterature accompanying the shock to persons. product. Read all the instructions before using the product. WARNING - When using electric products, basic precautions should always be followed, including the following. Indicates a potential hazard that could result in death WARNING or serious injury if the product is handled incorrectly. -
Products of Interest
Products of Interest You Rock Guitar MIDI Guitar used to map two different sets of switch, and controller for menu and Controller sounds onto the fingerboard. Volume, patch selection. It has a status LED pan, chorus, transposition, and MIDI and a mini-USB port for charging. The You Rock Guitar is a guitar- channel can be set for each layer and The hexaphonic cable is connected shaped MIDI controller with a 22- the user has a choice of major, minor, to the controller unit through a short fret neck with pressure sensitive pentatonic, or user-defined scales. cable. It picks up the notes played, switches, a tremolo arm, a joystick, One hundred presets are pre-loaded the controller unit converts them to and a short string section for trigger- with various combinations of sounds MIDI, and then sends that wirelessly ing notes (see Figure 1). The tremolo and tunings. to the USB wireless receiver that is arm is used for pitch bends and the The connection ports are located connected to a computer. It uses the joystick for modulation. A built-in on the bottom edge of the guitar 2.5-GHz ISM band. sound library allows the controller to and the control buttons on the top The controller is packaged with be used as a stand-alone instrument, edge. The ports provided are: USB, PreSonus’s StudioOne Artist, Native 1/ without the need for computer- 5-pin MIDI, 4-in guitar jack, mini Instruments’ Kontakt Elements and generated sound. The sounds include stereo headphone output, stereo line GuitarRig LE, IK Multimedia’s Sam- sampled acoustic, electric and bass input for use with audio sources, pleTank and AmpliTube, and Notion guitars, as well as sampled piano, and a GameFlex port for wireless Music’s Progression 2. -
47. James Horner 'Take Her to Sea Mr Murdoch' from Titanic
47. James Horner ‘Take her to sea Mr Murdoch’ from Titanic (For Unit 6: Further Musical Understanding) Background information and Performance Circumstances • James Horner (born 1953) is one of America’s foremost Film composers. • His score for Titanic won two academy awards (for best dramatic score and best song), and he has won many other awards for his work. • Horner has had a long working relationship with the director James Cameron, who made both Titanic and Avatar, to date two of the highest-grossing films in the history of cinema. • Other scores include A Beautiful Mind, Cocoon and Aliens. • Horner was ‘classically’ trained initially in California and at then at the Royal College of Music, London. • Horner included Celtic elements in this score, perhaps to reflect the Irish passengers in steerage class, from whom the Leonardo di Caprio character is drawn. Performing forces and their handling • Titanic uses a large symphony orchestra, augmented by a real choir and by synthetic vocal sounds. o Double woodwind, (including the darker sounding A clarinet), plus double bassoon. o 4 horns, 3 trumpets, 3 trombones and tuba, i.e. a conventional symphonic brass section. o Timpani, suspended cymbal, bass drum, tubular bells, bell tree, side drum, glockenspiel, sleigh bells. o 2 harps, piano and synthesiser (voice sound). o SATB choir. o Strings. • Traditional symphonic/Romantic treatment of the orchestra with much doubling of parts. • Few uses of solo timbres • Middle and lower ranges of instruments are favoured, with little above the stave for either Flute or Violins 1-3 Imitative opening. • Doubling of lines across strings/wind/SATB in each part.